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Photo by Jack Dykinga

G2 GALLERY IN VENICE PRESENTS JACK DYKINGA’S LANDSCAPE PHOTOGRAPHY AT ABBOT KINNEY FIRST FRIDAYS ON AUGUST 1ST
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PULITZER PRIZE-WINNING PHOTOGRAPHER JACK DYKINGA ATTENDS G2 GALLERY ON AUGUST 1ST AS HE JOINS THE BOUNDLESS VISION EXHIBIT TO MINGLE WITH GUESTS AND SIGN BOOKS

WHO: The G2 Gallery in Venice, CA presents the new exhibit Boundless Vision. Environmental photographer Jack Dykinga joins the show on August 1st, 2008, and will be in attendance to meet with the guests and sign books.

WHAT: The G2 Gallery will stay open late on the evening of August 1st, 2008 as part of Abbot Kinney First Fridays and will present the Boundless Vision exhibit. The first Friday of every month the merchants on Abbot Kinney Blvd. keep their doors open so patrons can experience all the culture offered by the eclectic restaurants, bars, shops and galleries.

Boundless Vision is a unique look at our natural world through the eyes of six accomplished photographers who are all bound by the same vision to promote nature conservation and education. On the evening of August 1st, Jack Dykinga will join the exhibit. Dykinga is a Pulitzer Prize-winning photographer and is a regular contributor to National Geographic and Arizona Highways. Other artists on display are Frans Lanting, Larry Ulrich, Jim Stimson, David Muench, Marc Muench, Thomas Mangelsen.

All proceeds from sales will be donated to environmental charities.

WHERE: G2 Gallery
1503 Abbot Kinney Boulevard
Venice, CA 90291
www.TheG2Gallery.com

WHEN: Friday, August 1st, 2008
6:00 PM – 9:00 PM

C-print

C print dimitrios Loumiotis Gallery kosmima Vienna
http://www.artmajeur.com/loumiotis/

Project Arts Centre

Front: Francis Upritchard, Sloth 2004, Back left: Sven Johne, A Walk in Lusatia (12 to 17 June, 2006), 2006, Back right: Tim Braden, I spend my evenings sitting by the fireside hunting tigers, 2008

The Flight of the Dodo
18 July - 23 August

Project Arts Centre
39 East Essex Street
Temple Bar, Dublin 2, Ireland

http://www.project.ie

What we share is curiosity, of the world that exists and that which is to come.

Tim Braden (UK), Ryan Gander (UK), Martino Gamper (IT), Sven Johne (DE), Irene Kopelman (AR), Eoin McHugh (IE), Francis Upritchard (NZ), Douglas White (UK)

The Flight of the Dodo is an eclectic exhibition made up of various artworks and elements that celebrate adventure, delve into factual myths, plunging in and out of notions of the hybrid, evolution, imaginative escapism, the will to survive and ultimate extinction.

The exhibition includes artists who have an eye on the flipside of life, the next steps in evolution and an interest in the endgame. While we read endlessly of global warming and the future migration which will be necessary to survive, there is much debate and angst about the timeframe for this outcome. Some artists focus on the landscape after the fall while others envisage salvation through science and technology. Some artworks let you escape from rational understanding, while others ground you in disaster archaeology of the 20th Century.

Curated by Jonathan Carroll and Tessa Giblin

In Sven Johne’s infrared, wolf’s-eye photographs and texts we read about places developed by man that have returned to nature – abandoned, overgrown, ghost-like relics of past activity. This transformation, both materially and functionally, is seen also in Douglas White’s Crow’s Stove, which is made from truck tyres found in Belize, Central America and other discarded manmade material. These tyres, found along a busy commercial highway, become the materials for White’s expansive and majestic palm-like tree, which planted in the centre of the gallery, encourages the ground beneath you to take a different form.

Eoin McHugh is furthering his research and interest in Darwinism and evolutionary theory, and making a new painting for The flight of the Dodo. McHugh’s paintings often evocate normality cast adrift into a sea of surrealism - he combines opposite forms or references in an innocuous manner, creating a ’second-take’ effect in many of his previous works. Martino Gamper collects bits of broken and displaced seating stools and combines various parts together to form new stools. These completely unique pieces of furniture and hybrid functional objects are reclaimed as artworks and placed around the gallery. Placed around with Gamper’s stools, are copies of Ryan Gander’s 2004 story-book, The Boy Who Always Looked Up. The hardback book, with illustrations by Sara De Bondt, watches the relationship between a little boy and an architect grow. This story, with abstracted escapism at its base, champions the individual’s possibility to overcome despair with the tools of belief and imagina
tion.

Francis Upritchard’s Sloth 2005 is an awkward, long-limbed, wobbly figure who rests on her back with limbs stretching into the air. She is not quite the ordinary sloth, with multiple nipples and strangely alienated mask for a face, her furry limbs are adorned with aged, white dress-gloves. Subtly emerging out of white walls is Irene Kopelman’s Monster, a relief form which is based on the collected drawings and observations taken by adventurers and researchers after their encounters with very foreign and shocking cultures. Her two-headed and grotesquely formed Monster seeps out of the past and out of the walls.

Tim Braden’s installation, I spend my evenings sitting by the fireside hunting tigers, 2008 is both adventurous and cautionary. The classroom setting recalls very physical explanations of physics, geography and history, and the installation includes a sail adhered to the desk, which when filled with wind from a fan on the ground, catches the breeze and provides a cunning tool with which to learn to sail. Episodes from CBS Radio Adventure Theatre are heard from inside the desks, which also hold paintings, books and other objects. Just outside the gallery, Braden’s ,i>Planetarium, 2008, is also installed – a gangly model to assist with understanding orbits.

The Dodo and the Dead Zoo
A discussion topic and lecture by Mr Nigel T. Monaghan, Keeper of the Natural History Museum of Ireland. Wednesday 30th July at 4 pm

The Flight of the Dodo has been supported by the Istituto Italiano di Cultura and the Goethe-Institut Dublin, and the following lenders and galleries - The Frank Cohen Collection, Wolverhampton, Sebastian Louis, Berlin, Kate MacGarry, London and Galerie Juliette Jongma, Amsterdam.

Please contact publicist Aisling McGrane for further information: aisling@project.ie

Project Arts Centre, 39 East Essex Street, Temple Bar, Dublin 2, Ireland
Gallery open Monday – Saturday, 11am – 8pm gallery@project.ie
http://www.project.ie

Museo Extremeno e
Iberoamericano de
Arte Contemporaneo

THE DISCREET CHARM OF
TECHNOLOGY ARTS IN SPAIN

MEIAC, Museo Extremeño e Iberoamericano de Arte Contemporáneo
From June 12th to August 24th 2008

ZKM Center for Art and Media Karlsruhe, Germany
From September 26th 2008 to February 15th 2009

http://www.meiac.es/artesenespana.htm

Production
MEIAC, Museo Extremeño e Iberoamericano de Arte Contemporáneo

Organization
Ministry of Culture
General Department of Fine Arts and Cultural Assets,
Office for the Promotion of Fine Arts

Regional Ministry for Culture and Tourism of the Autonomous Government of Extremadura, Office for Cultural Heritage

Idea and Concept
Claudia Giannetti

Curators
Claudia Giannetti, Antonio Franco, Peter Weibel

International Itinerancy

State Corporation for Spanish Cultural Action Abroad, SEACEX

Ministry of Foreign Affairs and Cooperation. The General Department of Cultural and Scientific Relations of Spain

ZKM Center for Art and Media Karlsruhe, Alemania ⎢ Germany

This exhibition presents for the first time, both in Spain and abroad, a representative selection of over sixty artists and more than one hundred artworks that, by means of its thematic curatorial concept, will make it possible to retrace the principal aspects of production in art, science and technology that have been carried out in Spain from the earliest manifestations to the present day. In it, the 13th century is linked to the 21st through a modular approach that focuses on five key themes representative of the artistic condition: the formal code; the visual code; the sensory and space-time code; the body and the identity; and the construction of reality. Curators: Claudia Giannetti is an expert in contemporary art and media art, a theorist, writer and exhibition curator; Antonio Franco is Director of MEIAC, the Museo Extremeño e Iberoamericano de Arte Contemporáneo of Badajoz; Peter Weibel is Director of the ZKM Center for Art and Media of Karlsruhe (Germany).

MEIAC, Badajoz (Spain) and ZKM, Karlsruhe (Germany) present more than a hundred works, comprising the first anthological exhibition on media art production in Spain.

The consolidation of art involving audiovisual, computer, digital and telematic technologies is a fact, but in the visual arts, technology is muchmore than a mere instrument. The works in this exhibition do not necessarily contain technological media, but they are based on innovative proposals rooted in technology and science. The show features painting, sculpture and photography alongside interactive installations, experimental film, video and the Internet.

The curators have divided the exhibition into five thematic sections focussing on five broadconcerns in art and culture: ACTING ON THE FORMAL CODE; ACTING ON THE VISUAL CODE; ACTING ON THE SENSORIAL [SPACE-TIME] CODE; ACTING ON THE BODY’S INTERFACE; and ACTING ON THE REALITY INTERFACE.

The first section addresses the formalization of language, something first proposedby the meMajorca philosopher Ramon Llull (13th century), who created rules of binary combinations to achieve a universal language. Six centuries later, digital computers, automation, artificial intelligence and cybernetics were all developed upon this foundation. Artists such as Barbadillo and Alexanco, pioneers of computer art in Spain, applied combinatory practices and the generative system in their wrks. More recently, Leandre and Lozano-Hemmer continue to develop this line of investigation.

The drawings and micro-photographs of the famous scientist and Nobel Prize winner Santiago Ramón y Cajal, which open the second section, enabled the invisible to be visualiz modifying our perception of our immediate surroundings. New fields of vision and action are explored by artists such as Daniel Canogar, Moisés Mañas and Agueda Simó.

The third section, “Acting on the sensorial [space-time] code”, analyzes, through José Val de Omar’s pioneering experimental films, the capacity of the media to overcome the traditional limits of space, time and the senses. The installations of Eugènia Balcells and Pedro Garhel, among others, offer the spectator multi-snsorial immersive experiences.

The body as interface and the way in which the ideaof identity is constructed are some of the issues addresse by artists such as Pilar Albarracín, Marcel·lí Antúnez, Javier Codesal and Begoña Vicario. The body becomes a surface for exploring the individual as a perishable being, as well as an instrument for relating to society and questioning traditional concepts of gender.

Reality is a subjective perception which depends on how the subject is observed; that is the idea explored in the fifth and last section, entitled “Ating o the reality interface”. Technoogicl means enable us to make clear the coincidence between fiction and reality. The artists whose works feature in this section aise questions about the relations between the subject and the surrounding social environment. Pioneers such as Miralda, Rabascall, Montes-Baquer/Salvador Dalí, Muntadas, Torres and Fontcuberta, as well as artists forming part of the latest generation, such as Cajaraville, Marino, Ruiz de Infante and Valldosera, present artistic proposals of special interest that touch on this broad question.

The catalogue, 600 pages, is undoubtedly the most complete publication ever produced in Spain on this theme. It contains hitherto unpublished historical and reflective essays by prestigious artists and theorists who are specialized in the field, such as Eugeni Bonet, Amador Vega, Román Gubern, María Pallier, Javier Echevarría, Simón Marchan Fiz, Muntadas, José Val del Omar and José María Yturralde, among others.

Curators
Claudia Giannetti is an expert in contemporary art and media art, a theorist, writer and exhibition curator.
Antonio Franco is Director of MEIAC, the Museo Extremeño e Iberoamericano de Arte Contemporáneo of Badajoz.
eter Weibel is Director of the ZKM Center for Art and Media of Karlsruhe (Germany).

For more details about the artists and the works included in the exhibition, visit http://www.meiac.es/artesenespana
The net art can be seen at the virtual gallery on the exhibition website.

Museum of
Contemporary Art Tokyo

Hugues Reip Eden, 2003. Photo: Hugues Reip

PARALLEL WORLDS
An exhibition by Hugues REIP
July 26 - September 28

Museum of
Contemporary Art Tokyo (MOT)
4-1-1, Miyoshi, Koto-ku,
Tokyo 135-0022 JAPAN
Tel: +81 (0)3 5245 4111
Fax: +81 (0)3 5124 1141

http://www.mot-art-museum.jp/english

With Hugues REIP, Michel BLAZY, François CURLET, Roland FLEXNER, Daniel GUYONNET, Jacques JULIEN , Mathieu MERCIER, Rei NAITO, Kohei NAWA, Alain SÉCHAS, Yutaka SONE

Exhibition Outline
Do we live simply in one world—the world we see around us?
There may be other worlds, alternative realities, somewhere very close by. Now, Hugues Reip and 10 Japanese and French artists invite us to experience “parallel worlds” like that of works of fantasy and science fiction.

Born in Cannes, France in 1964, artist Hugues Reip commands an array of art media, including neon and video. Parallel Worlds gathers Reip’s major works in one exhibition, such pieces as “Eden,” in which viewers encounter an optical illusion of themselves, as tiny as insects, inside huge plants, and “White Spirit,” in which humorous ghosts fleetingly appear and disappear. The world of Reip’s imagination unfolds around us, a world uncanny, yet filled with warmth.

The ten other artists, whose work Reip considers resonant with his own, constitute a line up of some of the foremost contemporary art creators of Japan and France. While wide-ranging in character, their art can transform our everyday sensibilities, causing us to sense the presence of an alternative realities existing infinitely in parallel with our own. In addition to distinctive works previously shown by these artists, Michel Blazy—known for his installation pieces created using foodstuffs—has created a new work for this exhibition, as have Jacques Julien, Kohei Nawa, and Naito Rei. An exhibition packed with the fun of contemporary art, Parallel Worlds will give wings to the imaginations of all who visit and a taste of the thrill of discovering new worlds. A project marking the 150th anniversary of diplomatic relations between France and Japan.

Artists
Hugues REIP | Michel BLAZY | François CURLET | Roland FLEXNER | Daniel GUYONNET | Jacques JULIEN | Mathieu MERCIER | Rei NAITO | Kohei NAWA | Alain SÉCHAS | Yutaka SONE

For further information please contact Reiko Noguchi, Press Office, Museum of Contemporary Art Tokyo, Japan.
Email: r-noguchi@mot-art.jp
Tel: +81 (0) 3-5245-1134 / Fax: +81 (0) 3-5245-1141,

PARALLEL WORLDS was organized by: Tokyo Metropolitan Foundation for History and Culture – Museum of Contemporary Art Tokyo
Sponsored by: agnès b.
Supported by: CULTURESFRANCE
Under the patronage of: Embassy of France
In cooperation with: Air France, Victor Company of Japan Limited (JVC)
Transport in cooperation with: Seko Japan
Produced by: LA BOITE

The exhibition’s official site: http://www.parallelworlds.mot-art-museum.jp