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Retail Space Available

Retail Space Available: Queens College MFA Exhibition
151 Gallery hosts Queens College MFA at alternative space in Chelsea

Opening Reception: October 10th 2008, 7.00pm - 10.00pm

October 10 - ?*
Gallery 151 [alternative Chelsea space]
15 West 18th Street, New York, NY 10011map

This event is open to the public. Gallery hours will run from October 10th,
Thursday - Sunday, from 12.00pm to 6.00pm.

*Please note that the ending date for this exhibition has not yet been determined. Please check back
periodically for updates. The event’s website is located at http://www.adefelice.com/retailspaceavailable

Please respond to this event via email [adefelice@ihearyou.com] or through the facebook event listing. This event is open to the public. All are welcome and we encourage you to forward the invite.

2009 Lyon Biennial

Copyright Foto Bob Goedewaagen

Lyon Biennial announces
Catherine David as Curator for 2009
16 september 2009 - 3 january 2010

Preview 14-15 sept 2009

5 venues : La Sucrière, the Bullukian Foundation, the Institute of contemporary art in Villeurbanne, the Museum of contemporary art of Lyon and a new venue to discover.

http://www.biennale-de-lyon.org

Catherine David directed Documenta 10 in Kassel in 1994–97, and later the Witte de With Centre for Contemporary Art in Rotterdam in 2002–04.

After studying linguistics and the history of art, she became a curator at the Centre Pompidou, before moving to the Jeu de Paume (1990–94). Among her many exhibitions and monographs there were “Lothar Baumgarten”, “Passages de L’Image”, “Stan Douglas: Monodramas and Television Spots”, “Marcel Broodthaers”, “Helio Oiticica”, “Robert Gober”, “Jeff Wall” et Chantal Ackerman’s “D’Est”.

Since Documenta 10 she has she has been organising exhibitions, encounters and transcultural publishing ventures, with an emphasis on establishing distinctive contexts for interchange with the public in respect of ideas, creativity and artistic processes.

Since 1998 she has been in charge of the “Représentations Arabes Contemporaines” project, which takes the form of exhibitions, seminars and publications in various European cities. The project fosters contact between the Arab world and the art scene and hopefully effects changes of attitudes on both sides.

In 2005–06 Catherine David was guest researcher at the prestigious Wissenschaftskolleg in Berlin, where she continued her work on the Arab world. During this time she also organised the monographic exhibition devoted to Bahman Jalali at the Fundació Tàpies in Barcelona (2007), and the interdisciplinary event “Di/Visions: Culture and Politics of the Middle East” at the World Culture Centre in Berlin.

In the spring of 2008 she received the Bard College Award for Curatorial Excellence.
She is currently chief curator at the Direction des Musées de France (French Museum Board).

The 2009 Lyon Biennial

The last three Lyon Biennials of Contemporary Art made up a kind of trilogy on the question of the present. A present awaited, feared, perhaps self-contained; the polymorphous present of the 2007 Biennial, with its 50 curators from all over the world. The issue was to explore the new temporality that marks the societies of our time: that seemingly infinite perpetual present, with no before and no after.
This was also the opportunity to look at the system of biennials, their critical function and their contribution to the history of art and of the world.

The 2009 Lyon Biennial inaugurates a second trilogy, focused on history. What is the situation regarding the transmission – the kinship, even – of the art forms and skills, the aesthetics and thinking now emanating from the most distant corners of the planet? These factors signal the end of Western artistic hegemony – yet without detriment to its criteria – as art reaches us from places that never knew the explosion of Western modernity. History and all the diversity and density of its recent manifestations: these are the stakes in the 2009 Biennial, under the curatorship of Catherine David.

Thierry Raspail
Artistic director

28th Bienal de São Paulo

“in living contact”
October 26th - December 6th

Curators:
Ivo Mesquita and Ana Paula Cohen

Pavilhão Ciccillo Matarazzo
Parque Ibirapuera, São Paulo, Brazil

http://www.28bienalsaopaulo.org.br

28th Bienal de São Paulo: “in living contact”

The 28th Bienal de São Paulo proposes a different format from its previous editions, offering a platform for observation and reflection upon the culture and system of biennials, taking its own experience as a case study. It considers the changes that have taken place in the cultural context in which it is set, as well as those occurring in the world at large, due to the globalization of economic and cultural relationships, and the popularization of contemporary art through exhibitions in museums, fairs and biennials. Instead of trying to produce an all-encompassing vision of the phenomenon of Art today, its seems to be more important to sketch out specificities, and produce structural cartographies, setting in motion a process of investigative and critical work that will keep pace with changes perceived within a given artistic circuit and its practices. In this sense, the 28th Bienal proposes a range of exhibition and dissemination apparatuses to mediate contact between the
audience and the production of knowledge in a collective event of such scope:

Square
The transformation of the ground floor of the Bienal Pavilion into a public square proposes a new relationship between the Institution and its surroundings. This space will have an intense interdisciplinary schedule for the duration of the event, always based upon proposals that will activate the “square” as a space for social interaction.

Open Plan
Unlike earlier editions of the Bienal, which turned the inner space of the modernist pavilion into exhibition rooms, the second floor will be completely open, revealing its structure and offering visitors a physical architectural experience.

Plan of Readings
Taking as a starting point the Wanda Svevo Historical Archive – the greatest heritage of the Institution, its memory –, the occupation of the third floor seeks to activate this history, allowing each one of its constituting elements to reveal its transforming potential in the present. It is constituted of three main strategies. The exhibition: artists working on the borderline between reality and fiction, creation of documents and instituted truths, personal memory and collective history, were invited to develop and/or present projects that bring to light some aspects of the history of the Bienal, from different perspectives. The library: the 28th Bienal has been collecting catalogs from the greatest possible number of biennials and periodical exhibitions around the world, to be presented in the exhibition space. The conferences are intended to feed the Historical Archive with a systematic reflection upon issues that concern the history and role of the Bienal de São Paul
o today, as well as its exhibition model. The four main themes are: 1) The Bienal de São Paulo and the Brazilian artistic milieu: memory and projection; 2) Backstage; 3) Biennials, biennials, biennials…; 4) History as a flexible matter: artistic practices and new systems of reading. A series of talks with artists related somehow to the history of the Bienal de São Paulo is also part of this platform.

Publications
The newspaper 28b, freely distributed for nine weeks around the city of São Paulo, brings together texts about, and images of, the exhibition’s program, as well as critical reviews, interdisciplinary articles, and artist interventions; the nine issues collected will constitute the exhibition’s catalog. Other publications will systematize the research, conferences and talks.

Artists:
Marina Abramovic, Eija-Liisa Ahtila, Vasco Araújo, Micol Assaël, avaf, Dora Longo Bahia, Sarnath Banerjee, Erick Beltrán, Mabe Bethônico, Leya Mira Brander, Fernando Bryce, Rodrigo Bueno, Sophie Calle, Mircea Cantor, Iran do Espírito Santo, Ângela Ferreira, Fischerspooner, Peter Friedl, Israel Galván, Goldin + Senneby, O Grivo, Carsten Höller, Maurício Ianês, Joan Jonas, Paul Ramírez Jonas, Armin Linke, Cristina Lucas, Rubens Mano, Allan McCollum, João Modé, Matt Mullican, Carlos Navarrete, Rivane Neuenschwander, Javier Peñafiel, Alexander Pilis, Nicolás Robbio, Joe Sheehan, Gabriel Sierra, Valeska Soares, Los Super Elegantes, Vibeke Tandberg, Carla Zaccagnini

Special projects:
“Archivo Abierto”, Ivaldo Bertazzo, Cinema CAPACETE, Weightless Days

http://www.28bienalsaopaulo.org.br

(Detail) Alfred Johansen “Untitled”, 1966 Courtesy: Alfred Johansen Estate

T293
Via Tribunali 293
I - 80138 Napoli, Italia
Tel +39/(0)81/295882
Fax +39/(0)81/2142210
info@t293.it
http://t293.it

OUT OF SIGHT
Curated by Adam Carr

Participating artists: Robert Allen, Mary Aurory, John Fare, Jacob Golden, Alfred Johansen, and Oscar Neuestern

October 8th - November 12th 2008
Opening reception: October 8th, 19.00 – 22.00
Opening hours: 12.00 – 19.00

T293 is delighted to announce the exhibition Out Of Sight, curated by Adam Carr.

Reveling in obscurity, the overlooked and the unknown, Out Of Sight sets out to see if the notion of discovery is still viable or pertinent when presenting exhibitions and in particular, artists and their works. Presenting the work of six artists, although as ordinary as this may seem, at the essence of this exhibition, however, are artists not part of the commonplace, alighting instead in the unfamiliar. Each has been chosen for their individual, unorthodox practices, as well as questions they pose—albeit at times unintentionally—on the role of the artist and the conditions under which artwork is commonly produced.

Art and life is often intertwined, but what happens when disappearing becomes a life long project? What happens when artists decide to stop producing work or simply vanish without a trace? Can artists choose to operate at the very fringes on the artworld? What happens if their work forces them to do so? Newness being new while being old, is this achievable? While the included artists offer answers to these questions, and while they may well function as descriptions of their case stories, pivotally, the conditions and ideas surrounding the above are also the subjects and starting points of their work.

Alfred Johansen (b.1924 Denmark) produced very few pieces before later disappearing. He took on the spirit of performance art and pushed a conceptual approach to making art to new levels, in works of which no one can ever see. Mary Aurory’s (b.1959 Morocco, lives and works in Antwerp) project is concerned with obscure, lesser-known artists while opting to not be noticed at all. When John Fare (b. 1936 Ontario, Canada) pursued his artistic goals, he in turn endangered his own life. Reinforced by regularly exhibiting his own birth certificate, his end, however, is still shrouded in mystery. Jacob Golden (b.1970 Leipzig, Germany, lives and works in Vienna) has a career in producing art involving acts of theft; every exhibition is a risk for him. Robert Allen (b. 1940 UK) describes his work as one: one work, one act—one gesture. A feature of an ARTnews article in 1969, Oscar Neuestern (b.1948 US) only allowed access to his work at the turn of century, his project was the con!
cept of
the absolute—his entire career is founded and built on absence.

Currently, where it could be argued that demand exerts a considerable force on the biography of an artist, the production of art, as well as its subsequent exhibition and reception, Out Of Sight presents artists who offer a different outlook. Their work amplifies the possibility of and for change, marking uncharted territories of art production and avoiding as well a sense of over production or exposure. They remain elusive as if it were a masterpiece—choreographing life itself.

- Adam Carr is an independent curator and writer currently based in London.
- For further information and images, please contact the gallery.

Artist: Istanbul – 2008
Size: 75cm x 130cm
Material: Iron, Plastic, Concete.

Istanbul claimed the new
Center of Attraction for Art,
Art-lovers to meet at Contemporary Istanbul between October 16 - 19

http://www.contemporaryistanbul.com

In its third edition this year, Contemporary Istanbul continues to open up the cultural and artistic life of Istanbul to the world at large as one of the most comprehensive “contemporary art events” of Turkey to date.

Contemporary Istanbul will be open for visitors this year between October 16-19, 2008 at Istanbul Convention and Exhibition Center, showcasing works of art from all around the globe with the sponsorship of Akbank Private Banking. This cooperation between Akbank and Contemporary Istanbul aims to provide a good example of the close relationship between the worlds of art and finance and will definitely be a milestone in the development of both the production and consumption of contemporary art in Turkey.

Contemporary Istanbul devised a highly efficient communication plan for this year with its national media sponsors and with ads and reviews appearing in 28 magazines from 13 countries on the international platform. The Metropolitan Municipality of Istanbul will promote Contemporary Istanbul to millions of people living in the city through more ad space than the past two years.

Contemporary Istanbul is expected to draw more than 50,000 viewers this year with numerous special projects that will be of interest to all art-lovers. Contemporary Istanbul will as usual showcase numerous paintings, sculptures, photographs, installations, videos and digital art works; in addition, it will host special exhibitions from abroad and will exhibit works of video artists from all around the globe under its special section, “International Video Screenings”.

Contemporary Istanbul will take place with a wide participation, presenting works of art by a total of 238 artists, 148 of them Turkish and the remaining 90 foreign. Aside from art galleries, Contemporary Istanbul will also host art initiatives this year. Through this project undertaken with the support of 2010 European Capital of Culture, the visitors will have the chance to get acquainted with some of the most striking examples of contemporary art by young artists from our country.

A name that will come up often in Contemporary Istanbul will be Burhan Doğançay, the first Turkish artist to have a museum dedicated to himself with the foundation of The Doğançay Museum in 2004. Contemporary Istanbul will not only provide a good opportunity to observe the contributions of Doğançay to Turkish contemporary art but will also showcase his recently finished work, which is the biggest in size among all his works (2.7×5.0 m) and which has the highest asking price ever in Turkey, 1.0 million USD. Moreover, Akbank Private Banking VIP Lounge will host yet unseen works of Doğançay.

Alongside artist initiatives like Doğançay, Caravansarai, 5533 and Hafriyat, art-lovers will also have the chance to see world class masters in Contemporary Istanbul. Not only Andy Warhol, who has climbed up to become the number one artist in sales with a total worth of 410 million USD in 2007, but also Gerhard Richter, Sam Francis, Sigmar Polke, Alen Jones and Tom Wesselman will have works on display. Tony Cragg, Mayumi Okabayashi, Mike Berg, Semiha Berksoy, İnci Eviner, Kezban Arca Batıbeki and Ahmet Elhan are only some of the numerous other names whose works will be showcased in Contemporary Istanbul…

Istanbul’s art scene will be very lively throughout October. The overlapping of the dates of the Dali exhibition in Sabancı Museum, new exhibitions in Istanbul Museum of Modern Art, The Design Week, Akbank Jazz Festival and Contemporary Istanbul is a sure sign of this… Aside from all these events, the parties that Contemporary Istanbul will organize in various elite venues of the city will be a must for all art-lovers. Moreover, Sotheby’s Art Institute will organize a seminar for the training of young collectors in The Sofa Hotel as part of Contemporary Istanbul program.

With the participant galleries and works on display in Istanbul Convention and Exhibition Center Rumeli Halls, with parallel events, social responsibility projects and the artistic production power of the city itself, Contemporary Istanbul will surely be the new center of attraction for art…

Wim Vanhenden fllyer

Wim Vanhenden

Born in the late seventies, Wim Vanhenden is a child of the first generation that grows up with a personal computer in the living room.

He was raised in a creative family: his father owned an art gallery and teaches painting, his mother is a keramic artist and his sister is a graphic designer, he himself has always been more attracted to computers than to a painter’s canvas.

In the mid eighties he started drawing his first experiments in BASIC on his Tandy TRS-80 Coco II home computer.

From that moment onwards, life without computers is unthinkable for him. For Wim Vanhenden the internet is his main source of inspiration.

He approaches it as an objective observer and let’s the spectator use his work as a paradigm to interpret the ‘real world’. In some cases he confronts the visitor with himself and the virtual world that surrounds him. Is the Internet nothing but a huge collective mental projection?

Wim Vanhenden is what we could call a software artist and is influenced by other artists, like John Maeda, Jared Tarbell, Ben Fry, Johua Davis, …

One must see the computer not as a subsitute for brush and paint but as an artistic medium in it’s own right

more info on the artist: http://www.wimvanhenden.be

Some of his work and idea’s about internet have been published in an interview on a DVD addition of the book 1000 Best websites by Taschen

Expo/ opening/ 10 October 19H - 2 November
Open weekends

http://www.actionfields.be
Hoogstraat 323
1000 Brussels

Greetings Vincent Verbist

October 2008 in Artforum

http://www.artforum.com

This month in Artforum: “Tools of Engagement: The Art of Franz West.” The Vienna-based artist has long been recognized for his boundary-blurring installations of sculpture, furniture, and their perplexing mongrel offspring. Less well known, however, are West’s formative efforts within the Viennese cultural scene of the late 1960s and early ’70s, where he forged the participatory aesthetic and subtly political tactics that have since made him a touchstone. On the occasion of the artist’s first US retrospective, at the Baltimore Museum of Art, art historian Christine Mehring unearths these roots and explores their continuing relevance to West’s work today.

“West has always worked—both literally and figuratively—in the ruins of political utopia.” —Christine Mehring

Plus: “Merce Cunningham: Dancers, Artworks, and People in the Galleries.” As Cunningham’s series of Events continues to take place at upstate New York’s Dia:Beacon—where his dancers and musicians have performed amid works by Bruce Nauman, Richard Serra, and Andy Warhol, among others—art historian Douglas Crimp reflects on the choreographer’s career and stirring equanimity as the subject of a portrait by Tacita Dean.

“Is it the dancer and her dancing or is it the dance that I most want to see? Cunningham implicitly poses this question, but he also renders it irrelevant by making the dance, as such, impossible to see. What you see is dancing.” —Douglas Crimp

And: Artist Charline von Heyl talks with John Kelsey about her new book project, Sabotage, 2008, a sampling of which appears here in a portfolio of imagery.

“Mylar pages do very different things when you turn them: They cover up and reveal; they add up, change, and destroy. These effects work in a kind of narrative way, as you take away and add and take away and add. Sabotage is a book that cannot take the whole into account.” —Charline von Heyl

In addition: The Cinema of Nagisa Oshima. Perhaps best known in the West as a proponent of the Japanese New Wave in the ’60s and ’70s, seminal director Nagisa Oshima has spent more than forty years making films not for the faint of heart. Critic Jonathan Rosenbaum probes the work of the Japanese provocateur, which shows this month in a complete retrospective as part of the New York Film Festival.

“The focus on aggressive or outlaw eroticism in Oshima’s five most recent features could be seen as a function of his growing political despair, an overall shift in his explorations of freedom from public to private spheres.” —Jonathan Rosenbaum

Also in October: Jeffrey Weiss weighs in on fifty years of Cy Twombly at Tate Modern; Jordan Kantor highlights tensions between form and content in South African artist Marlene Dumas’s midcareer survey at the Museum of Contemporary Art in Los Angeles; art historian Huey Copeland takes stock of “Black Is, Black Ain’t” at the University of Chicago’s Renaissance Society; Nick Mauss contemplates the coded ornamentation of Jochen Klein’s painting; Martin Herbert ventures to Manifesta 7’s “geopolitical frontier”; curator Jessica Morgan surveys the work of Paris-based artist Aurélien Froment; Caroline A. Jones takes stock of Anish Kapoor’s recent survey at the Institute of Contemporary Art, Boston; Amy Taubin finds renewed American regionalism in the recent films Ballast and Wendy and Lucy; P. Adams Sitney makes the pilgrimage for Gregory J. Markopoulos’s newly restored films at Temenos 2008; architect Markus Miessen chronicles Rem Koolhaas’s makeover plans for the Hermitage; Bruc
e Jenkins pays tribute to artist Bruce Conner, who died this past July at the age of seventy-four; and Tauba Auerbach presents this month’s Top Ten.

Visit Artforum online at http://www.artforum.com
To subscribe, visit http://www.artforum.com/subscribe
Visit artguide—Artforum’s free directory of the international art world, listing art fairs, auctions, and current gallery and museum shows in more than four hundred cities—at http://www.artforum.com/guide

Artabase.net - Find Art

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