Artipedia - Arts News

Susan D.
Goodman Collection

Susan D. Goodman Collection announces
GRANT PROGRAM FOR YOUNG ARTISTS

Susan D. Goodman Collection
225 West 86th Street, Suite 209
New York, NY 10024

Tel: (212) 579-0020
Fax: (212) 580-4064

The Susan D. Goodman Collection, a private contemporary art collection in New York, announces that it will award its first Goodman Grant to Columbia MFA 2008 graduate Martin Basher. The Goodman Grant was established this year to support young artists to live and work in an international art center while expanding his or her body of work. Basher was selected as the inaugural recipient by an independent selection committee, and will move to Berlin for a period of four months beginning this fall.

“The mission statement of my collection is ’support a young artist,’ and lately I have been thinking about the meaning of ’support’”, says Susan Goodman. “Purchasing, loaning and showing work is important; but I am seeing that young artists need other forms of support such as mentoring and unique opportunities to expand their context and enrich their life experience. Making the transition from an MFA program to the art world today is difficult. I am hoping to provide Martin with an experience that will challenge and nurture him during this period.”

The Susan D. Goodman Collection draws its inspiration from Jay Chiat, a longtime friend and mentor, who was an innovator and passionate collector of contemporary art. Over the past six years, Ms. Goodman has assembled a collection that brings together works from many different artists and countries, resulting in a deeply personal collection that is representative of current ideas, attitudes, and movements. In its first year, the Goodman Grant was made available exclusively to the Columbia MFA 2008 graduates. It includes airfare to and from Berlin, an apartment/studio, and a stipend to pay for art supplies and living expenses. Applications were reviewed by a selection committee consisting of three art-world luminaries: Mark Gisbourne, Jane Neal, and Christian Viveros-Faune. Mark Gisbourne is a critic, art historian, and resident curator of the Rohkunstbau, Germany. Jane Neal focuses her critique and curatorship on the art scene in Central and Eastern Europe and teaches a
class at Oxford University. Christian Viveros-Faune is a critic as well as the curatorial advisor for the art fairs VOLTA (NY) and NEXT (Chicago).

Martin Basher, an artist originally from New Zealand, works in sculpture, painting and print, and focuses his work on our contemporary consumer society and its relationship with the environment. “I am thrilled to have this opportunity and am grateful to Ms. Goodman for making this incredible grant possible. I’m over the moon,” Basher says. “The time in Berlin is going to change my future enormously – my art and my outlook – and for this gift there are simply no words I can come up with that can adequately express my appreciation. It will be life-changing.”

For more information, please contact:
Lizzie Stein
Collection Manager
Susan D. Goodman Collection
estein@goodmancompany.com
212-579-0020 x:204

CAPC, Musée d’art
contemporain de Bordeaux

Présence Panchounette
Until 14 September 2008

CAPC, Musée d’art
contemporain de Bordeaux
Entrepôt Lainé. 7, rue Ferrère
F-33000 Bordeaux
France

http://www.bordeaux.fr

Active from 1969 to 1990, the French group Présence Panchounette first made their mark through actions, pamphlets and performances that offered a combination of humour and protest typical of late 60’s. Their work critiques Modernism in its minimalist and conceptual forms. Anticipating Appropriation of the 80’s, Présence Panchounette use vernacular and decoration as well as references to other cultures (considered impure) in their paintings, sculptures and assemblages to critique and renegotiate the notion of avant-garde.

This retrospective exhibition, the first to be devoted to the group, is displayed in several places in downtown Bordeaux.

Less is less, more is more, that’s all.

Parallel to the exhibition of Présence Panchounette, Less is less, more is more, that’s allbrings together several generations of artists in the main nave of the museum who share a common ‘chounette’ mindset. In Bordeaux slang ‘choune’ means vulva and as an adjective is condescendingly used for ‘cute’. This simple notion enables the development of a number of practices to challenge the axioms of modern art.

If Modernism said ‘less is more’ in order to uplift the soul to transform mankind, in 1973 Présence Panchounette have inverted the most famous oxymoron of 20th century art to turn it into a banal pleonasm. It’s a dialectic come down with all the trappings of an aesthetic putsch. People always want to beautify their environment and demonstrate an inappropriate creativity that in the eyes of those who uphold ‘good taste’ will be seen as going overboard. What if this emancipation promised by Art was within everyone’s grasp?

The exhibition gathers about eighty artists who challenge the very notion of author and style, the inevitable decorative destiny of any artefact, the celebration of the vernacular, the domestic, the perfunctory, the redefinition of the notion of kitsch ‘imbued with class consciousness’, cultural misinterpretations, propaganda, rumour, strategies of embarrassment, etc.

Conceived as topography of the ‘chounette’, the exhibition is furthermore playing with conventions, somewhere between a village fair and a commercial exhibition.

With John Ahearn, John Armeleder, Art & Language, BANK, Guillaume Bijl, Valentin Carron, Maurizio Cattelan, A Constructed World, Jeremy Deller, Wim Delvoye, Jimmie Durham, Hans-Peter Feldmann, Fischli & Weiss, Sylvie Fleury, Claire Fontaine, General Idea, Mona Hatoum, Internationale Situationniste, Irwin, Mike Kelley, Bodys Isek Kingelez, Edward Kienholz, Karen Kilimnik, Jeff Koons, Samuel Kane Kwei, Paul McCarthy, Alessandro Mendini, Gianni Motti, Jim Shaw, Alain Séchas, Gitte Schäfer, Haim Steinbach, Rosemarie Trockel, Jeffrey Vallance, Patrick Van Caeckenbergh, Gil Wolman… and many more!
Curators: Charlotte Laubard, Frédéric Roux
Until 14 September 2008

CAPC
Musée d’art contemporain
de Bordeaux
Entrepôt Lainé. 7, rue Ferrère
F-33000 Bordeaux

Information
Phone : 33 5 56 00 81 50
Press Info : 33 5 56 00 81 70
capc@mairie-bordeaux.fr
http://www.rosab.net
http://www.bordeaux.fr

Supports to the exhibitions
French Ministry of Culture and Communication, Région Aquitaine, Société Générale, Sud Ouest daily newspaper, Château Tour Castillon.

FRENCH PAVILION

FRENCH PAVILION

XI International Architecture
Exhibition Venice Biennial
11. Mostra Internazionale di
Architettura Biennale di Venezia

“GeneroCity”
September 14 - November 23, 2008

Curator: Francis Rambert
Invited architects: French Touch Collective

Culturesfrance and the Ministry of Culture and Communication – Department of Architecture and Heritage have appointed Francis Rambert as curator of the French Pavilion at the 11th International Architecture Exhibition – Venice Biennial. In response to the Biennial’s overall theme of “Out There. Architecture beyond Building”, Francis Rambert is proposing a project entitled “GeneroCity, generous vs. generic,” to promote a dialogue on the concept of generosity. Architecture presented with regard to what “more” it can give to the city and its inhabitants.

Within the world of the architects of the French Touch Collective, the French Pavilion will bring together some fifty French teams who will build on the “optimistic” territory of the city of tomorrow.

Taking a stand against the trivialisation of cities in a time of globalisation, the Pavilion reaffirms the architect’s social role in defining lifestyles and urban habits. By steering the debate towards the value of generosity, it seeks to present the multiple forms of this generosity in architecture and a team creation which, by going beyond mere architectural quality, renews the creation of social bonds as much as the fabric of the city.

The French Touch Collective co-realizes with Francis Rambert the whole of the French Pavillon content, editorial concept and architectural and scenographic in-the-shape setting.

French production is rich and specific. The great diversity in contexts, landscapes, leads a new generation of architects to invent with optimism an everyday-life architecture, also popular and eco-aware. Who knows about all these realizations to-day ?

As a generous and optimistic collective, French Touch decides to open the presented selection to other talents, representative of French architectural production, through a vision of architecture conceived in what it can bring “further more” to the city and its inhabitants.

Beyond 15 agencies members of the French Touch Collective, another architects are also invited. Their projects feature a new approach linking context, use and creation that define, according to the Pavilion theme, a generous approach on the city, through architecture.

In order to keep GeneroCity “contemporary,” the Pavilion presents a total of 100 projects designed and developed at different scales and features a three-tiered presentation: yesterday-today-tomorrow, or revisit-explore-plan.

The Pavilion’s setting, as designed by the French Touch Collective, is itself a bearer of generosity and will reflect the responsiveness of the contemporary French scene: video projections and installations as well as project models that visitors may handle will be part of the set-up.

A reference work (a Culturesfrance/Editions Actar co-publication) accompanies the exhibition. Putting the GeneroCity value in perspective over 600 pages, it contains an exclusive interview with Jean Nouvel, winner of the 2008 Pritzker Prize.

* Since 2004, Francis Rambert has been the Director of the French Architecture Institute, City of Architecture and Heritage.

* The French Touch Collective was created in late 2006 under the impetus of young architects involved in teaching and debatting about their in-progress or completed projects.

Contact presse : Heymann, Renoult Associées / http://www.heymann-renoult.com
Agnès RENOULT / a.renoult@heymann-renoult.com
Sophie FLECHE – Presse nationale / s.fleche@heymann-renoult.com
Marie BAUER – Presse internationale / m.bauer@heymann-renoult.com

Contact communication
Culturesfrance / http://www.culturesfrance.com
Marion NAPOLY / mn@culturesfrance.com
Ministère de la culture et de la communication / Direction de l’architecture et du patrimoine
François MULLER / francois.muller@culture.gouv.fr

The French Pavilion of the 11th International Architecture Exhibition - 11. Mostra Internazionale di Architettura is produced by the Ministry of Culture and Communication / Department of Architecture and Heritage and Culturesfrance.
Culturesfrance is the operator of the French presentation at the Venice Biennial.

Photo by Jack Dykinga

G2 GALLERY IN VENICE PRESENTS JACK DYKINGA’S LANDSCAPE PHOTOGRAPHY AT ABBOT KINNEY FIRST FRIDAYS ON AUGUST 1ST
***
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

One Night Only

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.

The Rising Tide was recently part of CHINA NOW in the UK, as it was part of Constant Stream: China 08 at the Royal College of Art in London, where it screened with a film by acclaimed Chinese director Jia Zhangke.

Featuring: Cao Fei, Zhang O, Chen Qiulin, Wang Qingsong, Yang Yong, Xu Zhen, and Birdhead

To learn more about the film visit:

www.therisingtidefilm.com

http://open-player.com/blog/2008/02/29/video-pick-robert-adanto-the-rising-tide

Friday, October 3rd at 8:00pm

Pacific Asia Museum
46 North Los Robles Avenue
Pasadena , CA 91101
(626) 449-2742

Non-Objectif Sud

NOS Open

June 15 - September 7, 2008
Saturdays and Sundays from 3 to 7 p.m

Non-Objectif Sud
La Barralière
Chemin de Visan
26790 Tulette, France
Tel: 33.(0)4.75.98.31.77

560 Lorimer Street
Brooklyn, NY 11211, USA
Tel : 1-718.599.14.17
Tel : 1-646.325.45.81

http://www.nonobjectifsud.org

Non-Objectif Sud (NOS) is pleased to present its third annual exhibition entitled NOS Open which is taking place at La Barralière from June 15 through September 7, 2008. NOS invites artists, curators and colleagues to spend several days together, collaborate on and install an exhibition.

This summer, the participating international artists include Tanya Barr, Tania Kitchell, Ati Maier, Clive Murphy, Gary Rough, Blair Thurman and Lars Wolter who are exhibiting at NOS for the first time. Working in a variety of media from wall painting, drawing, photography and video to site-specific installations, sculpture and landwork, several artists interact with the surrounding provencal landscape.

Site-specific projects include Gary Rough’s first land work titled Eighteenth hole (for the Stonebreakers), a homage to St Andrew’s famed golf course, and Lars Wolter’s concrete/non-objective wall mural Untitled, a fractured grid overlayed with negative space. Other works by Rough comprise two series of drawings and an installation entitled Not too many, not too few, thirteen crosses made on site with materials gleened from the property as part of the NOS residency. Tanya Barr introduces her first video entitled Principle of Polarity, a pulsating nocturne shot from the rooftops of Williamsburg in Brooklyn as well as an installation entitled As Above, So Below created on site. Tania Kitchell’s The Garden Grows presents a series of wooden reliefs composed of drawings and texts addressing ideas of space and vegetation in the landscape and her own memories of previous visits to La Barralière. Ati Maier’s compact paintings and drawings explode the idea of landscape from a singu
lar view to a weaving vision of terrrestrial, cosmic and abstracted spaces in carnival colours. Her paintings carefully control a fleating chaos before the viewer, up–ending any sence of classical perspective. Clive Murhpy’s piece, a searing text into the wall, entitled You are beautiful because we care, was created as a performance during the opening. Blair Thurman works primarily in neon and his piece Good Hex offers a contemporary hex for the French barn.

An illustrated catalogue with a text by the free-lance writer Mark Baillie will presently be available.

For further information, please contact NOS directors Andrew Huston or Karole Vail at andrewhuston@gmail.com and karolevail@gmail.com

NOS thanks the artists for their participation, as well as its sponsors, colleagues, friends and family for their support and on-going assistance.