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Public Art Fund

Photo and design: Annie Shaw

THE NEW MILLENNIUM PAPER AIRPLANE CONTEST
By Klara Hobza
November 1, 2008 / 1-5pm
In the Great Hall at the
New York Hall of Science

… followed by…

THE NEW MILLENNIUM PAPER AIRPLANE BOOK
Coming Spring 2009

Call for entries: Pre-register online now at www.publicartfund.org!

THE NEW MILLENNIUM PAPER AIRPLANE CONTEST by Klara Hobza is a multifaceted artwork inspired by a historic paper airplane contest that took place in 1967 at the Great Hall in what is now the New York Hall of Science. Built by Wallace K. Harrison to display rockets in the 1964 World’s Fair, the Great Hall is a secular cathedral of concrete and colored glass, and for Hobza’s one-day event, this unique location will harbor aircraft of a different scale.

The competition is open to the public, and participants are invited to fly their planes in judging categories ranging from distance flown and duration aloft, to beauty, spectacular failure, a children’s division, and more! Notable planes and the stories behind their design will be collected in a book by the artist, published by Public Art Fund in spring 2009.

Qualifying airplanes may be folded from letter-size paper, up to 8.5″ x 11″ (or A4) or smaller, using average weight office paper. Cutting and minor gluing of airplanes is permitted; stapling is not.

You are invited to pre-register for the event online by October 28th, or in person on site on November 1st. If you are unable to attend the event but would like to submit an airplane to be flown in the competition, or to be considered for the book, you may also pre-register online. See http://www.publicartfund.org for more information on pre-registration, contest rules, and book details. Further questions about the project may be addressed to paperairplanes@publicartfund.org.

Klara Hobza was born in Plzen, Czech Republic and currently lives and works in New York City. She received her MFA from Columbia University in 2005. Hobza’s work is currently on view in exhibitions at Moderna Museet, Stockholm, and Malmo Kunstmuseum, Malmo.

Directions: The New York Hall of Science is located at 47-01 111th Street, Queens, in Flushing Meadows Corona Park. Subway: 7 train to 111th St. and walk 3 blocks south. Phone: 718.699.0005.

Free shuttle bus from Manhattan: leaves on November 1 at 12:15pm from the northwest corner of 15th Street and 10th Avenue. The shuttle returns to the pickup location after the event concludes at 5pm. RSVP required for shuttle bus: email rsvp@publicartfund.org.

Public Art Fund is New York’s leading presenter of artists’ projects, new commissions, installations and exhibitions in public spaces.

THE NEW MILLENNIUM PAPER AIRPLANE CONTEST by Klara Hobza is a project of the Public Art Fund program In the Public Realm, which is supported by the National Endowment for the Arts; and in part by the New York State Council on the Arts, a State Agency; and the New York City Department of Cultural Affairs.

THE NEW MILLENNIUM PAPER AIRPLANE CONTEST by Klara Hobza is presented in collaboration with The New York Hall of Science.

Public Art Fund is a non-profit art organization supported by generous contributions from individuals, foundations, and corporations, and with public funds from National Endowment for the Arts; New York State Council on the Arts, a State Agency; and the New York City Department of Cultural Affairs.

Public Art Fund
One East 53rd Street, New York, New York, 10022
http://www.publicartfund.org

2008 Zagreb Youth Salon

“Temporary Solutions”
Julieta Aranda
2005 - 2006.

Salon Of The Revolution

29th Youth Salon
October 4 - 26, 2008

curated by:
Ivana Bago & Antonia Majaca
HDLU – Mestrovic Pavillion
Trg zrtava fasizma bb, Zagreb, Croatia
+385 1 4611 818
info@hdlu.hr

http://www.salonrevolucije.org

The title of the exhibition for the 2008 Zagreb Youth Salon – Salon of the Revolution, contains a deliberate paradox and ambiguity that defines it both as ‘revolutionizing a Salon’ and ’salonizing a revolution’. By creating a space of uncertainty about its meaning, it presents itself primarily as a question, reflecting on the possibilities, responsibilities, and positions which contemporary art and intellectual practice can occupy today.

The year 1968 (the year of the global revolts but also the year when the Youth Salon was first established in Zagreb) is just an allusive starting point for the multifaceted project which links strategies of resistance in the past with those of today and, in a more general sense, questions the ways in which looking into the past, even with nostalgia, can foster not only a passive attitude which Walter Benjamin reproachfully dubbed ‘left melancholy’, but the driving force of a new reflection on art and the present moment. The relation towards the past which the Salon of the Revolution wishes to activate is closest to Badiou’s concept of the ‘fidelity to the event’ and, besides 1968, the project maps a series of other ‘events’ from the past which together form a repertory of empowering references, or at least moments whose heritage is today worth questioning and whose ‘anniversaries’ we can, without cynicism, congratulate.

The show further reflects on the history of the exhibition venue, the House of Artists, designed by Ivan Mestrovic and build in 1938, which, since then, had gone through several transformations, all of which have been linked to highest instances of state politics and the changing ideologies (inaugurated as an artists’ house, it became a mosque during the WWII, then a Museum of Revolution; during the 1990s it almost became a pantheon of ‘Croatian nobles’, but thanks to a local artists’ and intellectuals’ initiative, it was finally restored to its original function of an art venue).

Participating Artists
Julieta Aranda, Arturas Bumsteinas & Laura Garbstiene, Petar Bunic, Alejandro Cesarco, Kajsa Dahlberg, Mariana Castillo Deball, Claire Fontaine, Samuel Dowd & Florian Roithmayr, Ivan Dujmušic, Koken Ergun, Marin Kanajet, Patricia Esquivias, Jakup Ferri, Mario Garcia Torres, Djuro Gavran, Igor Grubic, Nicoline Van Harskamp, Stefan Haus, Adrijana Hiseni, Ilegalni Bioskop, Sinisa Ilic, The Institute Of Art And Practice Of Dissent At Home, Janez Jansa, Jeudi Noir, Bozidar Katic, Iva Kovac & Natasa Tepavcevic, Nenad Kurcubic, Sinisa Labrovic, Runo Lagomarsino, Ivan Latin, Marko Markovic, Monument To Transformation, Radenko Milak, Ciprian Muresan, Angel Nevarez & Valerie Tevere, Ahmet Ogut, Damir Ocko, Christodoulos Panayiotou, Lala Rascic & Vuneny, R.E.P. - Revolutionary Experimental Space, Joanne Richardson, Dina Roncevic, Majorian 458, Karla Suler, Pilvi Takala, Stefanos Tsivopoulos, Nassan Tur, Mona Vatamanu & Florin Tudor, Voina

Disobedience Archive, an ongoing video archive about the relationship of artistic practice and social and civil disobedience, curated by Marco Scotini, is specially hosted in the framework of the Salon of the Revolution, with the setup design by Zbynek Baladran.

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Salon of the Revolution is developed and curated by Ivana Bago and Antonia Majaca.

Galleria Civica di Modena

Pierre Huyghe
A Journey That Wasn’t, 2005, super 16mm film HD video
courtesy Marian Goodman Gallery, New York/Paris,
foto Pierre Huyghe, Xavier Veilhan.

THE SUBLIME IS NOW
19th September 2008 -
6th January 2009

Palazzo Santa Margherita,
corso Canalgrande 103
Modena, Italy

http://www.galleriacivicadimodena.it

More than 200 years after its definition, the concept of the sublime stands out as one of great modern relevance: it is a Romantic idea bound up in the search and the exaltation of new frontiers, a driving force behind the world of contemporary art. Until 6th January 2009 is open at the Galleria Civica di Modena the exhibition The sublime is now – title taken from that of a short essay written by the American painter Barnett Newman in 1948 – curated by Marco De Michelis, professor of the history of architecture at the Columbia University of New York as well as the IUAV University of Venice. Organised and produced by the Galleria Civica di Modena and the Fondazione Cassa di Risparmio di Modena, the show is held in the venue of Palazzo Santa Margherita, corso Canalgrande 103, Modena (Italy).

The notion of the challenge, in the sense of an unstoppable urge which leads us to set off on journeys into the unknown, emerges from the works and the undertakings of the artists present in the exhibition who at their own risk venture out towards the edges of the world: going solo on a sailboat across the Atlantic Ocean; to the South Pole on a quest to find the song of the albino penguin; a journey through the Arctic storms in the path of the giant icebreakers.

The exhibition is largely a display of videos, films and sound installations. Several works make reference to the Spiral Jetty created by Robert Smithson in 1970 and the subject of a film shot by Smithson himself during its creation. The artist, particularly in this case, firmly expresses the idea that while nature may constitute a source of life, it does not allow for its total understanding; that it may be manipulated but never fully understood. This section includes a number of homages to this work in the form of audio and video contributions: Tacita Dean, Trying to Find the Spiral Jetty (1997), audio CD, 27 ‘, Deborah Ligorio, Donut to Spiral, video, 7′ with sound (2004), the French artist Cyprien Gaillard, Real Remnants of Fictive Wars VI, video, (2007).
The exhibition continues with a memory of the adventure undertaken by Bas Jan Ader, (Holland, 1942), the artist who in 1975 set out to make a solo crossing of the Atlantic Ocean, on a sailboat only four metres long, an
d who lost his life in the process. There are also others that set out to discover the outer realms of the planet: the Frenchman Pierre Huyghe and the German John Bock. The first tells of his journey towards the south Pole with the aim of recording the song of an albino penguin: A Journey That Wasn’t, (2006), video. The second sets out to cross the dangerous panorama of an Arctic storm, an experience presented in Skipholt, (2005), video. Lastly, the Dutch artist Guido van der Werve evokes the panorama of the Romantic painter Caspar David Friedrich, walking across the frozen waters of Finland followed by a towering icebreaker in Everything is Going to Be Alright, (2007) film.

The exhibition will be accompanied by a catalogue in two languages, containing a rich range of images and information on the works on show, with critical texts by Marco De Michelis as well as by the head of the Galleria Civica di Modena, Angela Vettese, and an essay by Franco Rella, expert on aesthetics.

Il sublime è ora / The sublime is now
Palazzo Santa Margherita, corso Canalgrande 103, Modena

Opening times
Tuesday to Friday 10.30am – 1pm; 3pm – 6pm
Saturday, Sunday and public holidays 10.30am – 6pm
closed Mondays

Galleria Civica di Modena, c.so Canalgrande 103, 41100 Modena - Italy
tel. +39 059 2032911/2032940 - fax +39 059 2032932
http://www.galleriacivicadimodena.it

Bonnefantenmuseum

The Duress Series: Person Holding onto Pole Attached to Exterior of Tall Building, 2003 / Collection Herbert / Copyright John Baldessari.

BACA Laureate 2008:
John Baldessari
Exhibition & Masterclass
7 October 2008 - 25 January 2009

Bonnefantenmuseum
Avenue Ceramique 250
NL-6221 KX Maastricht

http://www.bonnefanten.nl

“John Baldessari forms an important bridge between Pop Art and Nouveau Realisme and the big crop of artists/photographers that belong to a younger generation”, according to the jury of the BACA International edition 2008, which is made up of Bice Curiger, Robert Storr and Alexander van Grevenstein.

John Baldessari
The BACA International is intended for an artist’s artist; i.e. an artist who has fully made his/her name in the world of visual art but is not necessarily familiar to the general public. John Baldessari (1931) is also regarded as a focus and driving force of new developments. Baldessari is one of the protagonists of Minimal Art and Concept Art.

Although he started out as a painter, Baldessari soon exchanged his brush for a camera, with the goal of eliminating the boundary between painting and photography. His oeuvre is very recognisable, as he often combines black and white photos with coloured sections. As well as his own photos, he uses images from unsuccessful B movies, portraits, everyday snapshots and advertising pictures, which he regards as a reflection of reality.

Chanting Baldessari – a Masterclass
Baldessari has been influencing younger generations of artists for many years, and his teaching has played a large part in this. Baldessari: “It’s essentially an idea that you can’t teach art, but if you’re around artists you might pick up something”. Under the title Chanting Baldessari – a Masterclass, six young artists from the post-graduate Jan van Eyck institute in Maastricht will be presenting their work in the exhibition of the BACA winner. Prior to the award ceremony and opening, Baldessari will enter into dialogue with these artists about their work. The artists participating are: Ruth Buchanan (NZ) & Rachel Koolen (NL), Eleni Kamma (GR), Jean-Baptiste Maitre (F), Kristin Posehn (US) and Stéphane Querrec (F).

This an Example of That
There will also be a presentation of work by Koen van den Broek (1973), one of the artists with whom Baldessari has collaborated.

John Baldessari sent Koen van den Broek a series of photos from his
archive of scenery and sets from the world of cinema and Hollywood. Van den
Broek thought up 22 suggestive ’supporting’ images for this series – magnified
in sizes ranging from small to monumental – with bright paint, strokes and
stripes, so that the work is accentuated by a new way of reading it.

Catalogue
Two publications will accompany the exhibition & Masterclass. Available in the Museum Shop of the Bonnefantenmuseum.

Support
For the organisation of the BACA International, the Bonnefantenmuseum has been able to count on the generous support of two leading multinationals that have roots in Limburg. A sponsor agreement has been concluded with Océ NV and DSM NV for the organisation of several editions of this ambitious award. The BACA International also receives support from the Maastricht Council and the Province of Limburg, who are thus both underlining the international significance of this art award for the city and the whole province.

NOTE FOR THE PRESS: you can download visual material via http://www.bonnefanten.nl/press
For more info, please contact the press department of the Bonnefantenmuseum (Tues-Fri), Avenue Céramique 250, Postbus 1735, 6201 BS Maastricht. Tel. +31 43 329 01 10, fax +31 43 329 01 99, Mirjam Stam: pressoffice@bonnefanten.nl