Artipedia - Arts News

Whitney Museum
of American Art

PAUL MCCARTHY:
CENTRAL SYMMETRICAL ROTATION MOVEMENT
THREE INSTALLATIONS, TWO FILMS
Through October 12, 2008

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York City
(212) 570-3600

http://www.whitney.org

This exhibition brings together a group of new and rarely seen works by Paul McCarthy. It addresses a core element of McCarthy’s art: the way in which physical and psychological de-stabilization is made to occur through the body’s interaction with dislocated architectural space. This question has been central for McCarthy since his earliest experiments with destruction in painting and performance in the 1960s. The exhibition includes ‘Spinning Room’, a projective installation first proposed in 1971, ‘Mad House’, a new installation, ‘Bang Bang Room’ (1993) and a group of rarely seen film loops, videotapes and a slide work from 1966-1971.

Curated by Chrissie Iles.

PAUL MCCARTHY: FILM LIST
Through September 28, 2008

Film has been an important inspiration for Paul McCarthy since the beginning of his career. McCarthy began making films as a student in the mid 1960s. In conjunction with the exhibition, McCarthy has curated a program that brings together films by Tony Conrad, films from the 1970s by Valie Export and Maria Lassnig, 1960s structural films by Kurt Kren, rarely screened works by Jack Smith, Stan VanDerBeek and Stan Brakhage, and a group of films by Pat O’Neill. Works by Bas Jan Ader, Jack Goldstein, Morgan Fisher and Nina Sobell will also be screened. Two classic Warhol westerns, ‘Horse’ (1965) and ‘Lonesome Cowboys’ (1969) will be screened. ‘The Sound of Music’ (1965) will be projected upside down and backwards. The series also includes screenings of ‘The Pawnbroker’ (1965), and selections from ‘Close Radio’, a half hour radio program curated by McCarthy from 1976-1979 with John Duncan, featuring, amongst others, Allan Kaprow, Ant Farm, Guy de Cointet, Jack Goldstein, Les Levin
e and Paul McCarthy.

See the Whitney website for the full ‘Film List’ schedule: http://www.whitney.org

Whitney Museum of American Art
945 Madison Avenue at 75th Street
New York City
(212) 570-3600
http://www.whitney.org

Image Above:

Top:
Paul McCarthy, Spinning Room, 1970/2008, Aluminum, wood, Servo motors,vinyl rear projection screens, video projectors, electric motor, sensors, electrical components, show control, video equipment. Collection of the artist; courtesy Hauser & Wirth London/Zurich.

Bottom:
Stan VanDerBeek, Science Friction, 1959. 16mm film, color, sound; 9:46 minutes. Photo courtesy Anthology Film Archives, All Rights Reserved. Copyright: The Estate of Stan VanDerBeek

villa Romana

Collier Schorr, Arrangement #8 (Blumen), 2008, C-print, 99.1 x 80.6 cm (detail), court. 303 Gallery, New York

Collier Schorr
BLUMEN
22.07. - 31.08.2008

Villa Romana
Via Senese 68
50124 Florence
http://www.villaromana.org

We cordially invite you and your friends to the
opening of the exhibition on Friday 18 July at 7 p.m.
Opening Times:
Tues - Fri 3 - 7 p.m. and by appointment

BLUMEN is the second installment of Collier Schorr‘s “Forests & Fields“ project. Schorr has been documenting the life and landscapes of a small town in Southern Germany for the past 15 years. Spending summers and occasional winters there, her work has veered from mainly portraiture to include domestic landscapes and arrangements as a way of informing about the lives, structures and temperaments of the townspeople of Schwäbisch-Gmünd.

BLUMEN is a play on the idea of floral arrangements, of taking what is natural and fitting it into a compromised position. These actions mirror Schorr‘s idea of portraiture as a picture of both the subject and the photographer‘s idea of who the subject is, merging her subject‘s identities with her own idea of what it is to be “German”.

Schorr‘s flower portraits are staged: constructed landscapes suggest a formal interest in composition as well as an attempt to interrupt the natural vista. Schorr first gathers flowers from neighbouring gardens, then transports them to higher areas of the town, to mountaintops and slopes. The flowers are then tied to strings and held up by sticks. By removing the flowers from their place of cultivation and positioning them on public land, Schorr suggests a migration or re-patriation.

Small black and white portraits of the “Germans” are interspersed in this loose installation of pinned up pictures, to create a realistic scale of a domineering natural world. Chairs, faucets, pears and a pile of manure all dwarf the townspeople, who exist in their ever changing world as almost nostalgic personages.

The Rising Tide: A Film by Robert Adanto

In his beautiful debut film, Robert Adanto explores the work of some of China’s most talented emerging artists and their personal responses to the country’s rise as a global economic, political and cultural force. This is a unique opportunity to see this elegant and thoughtful film, introduced by the director.

www.therisingtidefilm.com

Location: Royal Ontario Museum, Level 1B
Signy and Cléophée Eaton Theatre

Cost: General Public $10, ROM Member $8, Friends of ICC $6.

Tickets available on day of event beginning at 6 pm at the Loblaws Entrance.

Contact Information:
Tel.: 416.586.5524
E-mail: icc@rom.on.ca

Date/Time: Sessions (1):

Thursday August 21, 7:30 to 9:30 pm

Kunsthaus Graz

Olaf Nicolai
Rodakis, 2007 Single-channel video installation
Thyssen-Bornemisza Art Contemporary
Photo: Courtesy of the artist and Galerie EIGEN+ART, Leipzig / Berlin

Kunsthaus Graz
Thyssen-Bornemisza Art Contemporary Collection as Aleph
Till October 26, 2008
Tue - Sun 10am-6pm

Kunsthaus Graz am
Landesmuseum Joanneum
Lendkai 1, A–8020 Graz
T +43-316/8017-9200, F -9212
info@kunsthausgraz.at
http://www.kunsthausgraz.at

I imagine, in the dawn, I hear a worn
murmur of multitudes, faltering, fading away.
They are everything that has loved me and forgotten;
Space, Time and Borges now are leaving me
Jorge Luis Borges

Four months from its opening, the exhibition-in-progress, Thyssen-Bornemisza Art Contemporary Collection as Aleph has rotated into its second chapter. Structured as Aleph, Borges’ notion of a universal space where “all the places of the world, seen from every angle coexist”, it includes an endless sequence of potential narratives and conceptual conjunctions, introduced in a performative manner with the audience’s participation and in a symbolic synergy with the biomorphic architecture of Kunsthaus Graz.

The exhibition’s opening chapter had been choreographed around the motives that unfolded the paradoxes of infinity, spatial fantasies, identity’s disorders and mythological translations, and it included the art works of, amongst others, Fiona Banner, Douglas Gordon, Jason Rhoades, Olafur Eliasson, Los Carpinteros, Catherine Sullivan and Haluk Akakçe. The forthcoming chapter narrates tales of inner worlds, imaginary creatures, utopian visions and alternative images of society. From the miniature theatrics of contemporary disasters in Isa Genzken’s empire vampire III and the hypnotic report on the ruins of modern times in Olaf Nicolai’s Rodakis down to the monumental landscapes of fantasy in Ernesto Neto’s Esqueleto Glóbulos and the blurred images of reality-in-transformation in Rivane Neuenschwander & Cao Guimarães’ Inventário das Pequenas Mortes (Sopro), the exhibition’s trajectory connects myth and reality in an on-going performance of subjectivity under construction.

The flat labyrinth of Jim Lambie’s Zobop Gold, which fills up the lobby of Kunsthaus Graz, slowly acquires volume, as the exhibition proceeds and its architecture, conceived by the next ENTERprise, displays well-proportioned density through new spatial organic structures that playfully engage the existing architecture and, at the same time, construct an autonomous habitat for newly introduced art works. Thus the exhibition gradually mutates into a maze, resembling more and more Borgesian structure en abîme, with its paths and avenues leading towards not yet discovered meanings and appearances. The inner coat of mirrors generates the exhibition’s uncanny second life as the curatorial process continues bringing in new texts and personages to a heterotopic show as a parable of complex realities and parallel universes.

Kunsthaus Graz is preparing a symposium Structure en abîme. Borges & Aleph which will investigate the importance and influence of the Argentine writer in many areas of human creativity. The symposium takes place on October 24, 2008, with participation of Beatriz Sarlo (cultural critic and author of Borges. A Writer on the Edge, Argentina), Edward W. Soja (geographer and theorist of urban structure, USA) and Carlos Gamerro (writer and translator, Argentina) amongst others.

Founded in Vienna in 2002 by Francesca von Habsburg, Thyssen-Bornemisza Art Contemporary represents the fourth generation of the Thyssen family’s dedication to the arts. The foundation is committed to supporting the production of contemporary art and is actively engaged in commissioning unconventional projects that promote research-based, context- and site-specific, performative art practices, often informed by an interest in social aesthetics (http://www.tba21.org).

The artists of the second chapter:
Darren Almond, Fiona Banner, Tiago Carneiro da Cunha, Michael Elmgreen & Ingar Dragset, Iran do Espírito Santo, Isa Genzken, Jim Lambie, Jón Laxdal, Los Carpinteros, Sarah Lucas, Paul McCarthy, Ernesto Neto, Rivane Neuenschwander, Rivane Neuenschwander & Cao Guimarães, Olaf Nicolai, Do-Ho Suh, Thomas Struth

More exhibitions in Kunsthaus Graz:

Nieto Sobejano Arquitectos, Madrid
arquitectura concreta
till August 3, 2008
Kunsthaus Graz, Foyer

Joe Colombo
Design and the Invention of the Future
till August 31, 2008
Kunsthaus Graz, Space01
In cooperation with Kastner & Öhler Warenhaus AG
and Graz University of Technology

ART COLOGNE
22 - 26 April 2009

http://www.artcologne.de

ART COLOGNE 2009 will run from 22 to 26 April. The Fair will relocate from Halls 4 and 5 of the Cologne Trade Fair Centre to a more popular venue, Hall 11. The new venue is just one feature of a move to enhance the Fair in terms of improved layout and architecture. Scope and format will be consolidated. Changes on the management side include the appointment of the Düsseldorf gallerist Hans Mayer to the Advisory Committee. The new Advisory Committee is divided into three groups. They will be working independently and focussing on each of the Fair’s three main sections – modern, post-war and contemporary art. The revised logo is designed to emphasize the Fair’s structural clarity and to focus on its strengths.

Quality will be ART COLOGNE’s top management priority. This means ensuring the presence of top-calibre international dealers and top-calibre artworks. The new Advisory Committee with its strong international membership will play a key role. This year’s members are: Hendrik A. Berinson (Gallery Berinson, Berlin); Jörn Bötnagel (Gallery Bötnagel, Cologne); Valerie Carberry (Valerie Carberry Gallery Chicago); Darren Flook (Hotel Gallery, London); Steve Hanson (China Art Objects Galleries, Los Angeles); Dennis Kimmerich (Gallery Dennis Kimmerich, Düsseldorf); Christian Nagel (Gallery Christian Nagel, Cologne); Niklas Svennung (Gallery Chantal Crousel, Paris); and Hans Mayer (Gallery Hans Mayer, Düsseldorf). The decision to invite two gallerists from Cologne and two from Düsseldorf to join colleagues from leading international arts centres like Los Angeles, Berlin, London, Paris and Chicago was a conscious one: This will strengthen artistic links within the Rhineland and enc
ourage cooperation between Cologne and Düsseldorf.

The new venue, Hall 11, offers an attractive ambience and a very accessible showcase for a major international art fair. While the total exhibition area will be unchanged, the format will be consolidated. The new layout plan provides for a whole level to be devoted to each of the three main sections – modern, post-war and contemporary art. The ‘Open Space’ exhibition and the ‘New Contemporaries’ programme – showcasing young galleries – will be staged on the third level as clearly defined components of the Fair. A further advantage of the new venue with its south entrance is its closeness to Cologne’s city centre, thus enhancing pedestrian access.

ART COLOGNE will continue to place high value on its long-standing sponsorship schemes for young artists and young galleries. The ‘New Contemporaries’ programme is set to continue unchanged. The successful sponsorship scheme for emerging artists will be relabelled ‘New Positions’. The new title is designed to underline the innovative character of the artistic statements on show.

A freshly designed and optimized ART COLOGNE website will be launched in August. Visit it for full details.