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Art and You - Rodolphe Cintorino

A l’occasion de son premier anniversaire, le Studio Art and You organise une présentation de l’exposition de Rodolphe Cintorino par l’artiste lui même.
Vous êtes bien entendu les bienvenu(e)s, et vous pouvez convier d’autres personnes.

Cet événement est organisé :
Mardi 8 juillet à partir de 17h30 / 18h
Au Studio Art and You - 14, rue Richer - 75009 Paris

Plus d’informations sur l’expo de Rodolphe Cintorino :
http://www.art-and-you.com/info_75_rodolphe-cintorino.html

Cette opération est montée en partenariat avec Drouot formation

Cordialement,

Jean-David Boussemaer
Editeur de Artandyou.com

print 100×120 cm

http://www.artmajeur.com/loumiotis/

Geta Brătescu, No to Violence, 1974, Courtesy Moderna galerija Ljubljana, Foto: Mihai Brătescu | Ana Lupas, Humid Installation, 1970, Courtesy Ana Lupas

GALERIE IM TAXISPALAIS

Geta Brătescu
Ana Lupas
28 June – 24 August 2008

Curated by: Alina Şerban in collaboration with Silvia Eiblmayr

Geta Brătescu is regarded as one of the most remarkable personalities of Romanian post-war avant-garde art. The exhibition at Galerie im Taxispalais Innsbruck represents the first extensive international presentation of her performances, films, drawings and objects that she created in Bucharest during the mid-seventies. Brătescu’s oeuvre results from a complex act of self-examination, which aims to objectify body and things, in a movement from the subjective and real towards a state of the objective and the abstraction.

In the 1970s, Geta Brătescu developed an intermedia concept for space-specific, performative works in which she investigated the relation between physiognomy, the body and the surrounding space. Her first recorded performance entitled “The Studio” (1978, camera: Ion Grigorescu) functions as a self-representational story exploring and processing the artist’s mental and physical environment. For Brătescu her studio is the space to redefine the Self, the space where the artist confesses freely her pleasure in playfulness; it is a stage where ideas come alive and where the performed gestures disclose alternative scripts to the day-to-day condition.

“Towards White” (1975), “Self-Portrait, Towards White” (1975) and “From Black to White” (1976) can be perceived as the sequences of a theatrical play, where the acting role, assumed by the artist, brings into discussion questions of self-identity and its cancellation and of the dematerialization of the object and the body in space.

In the film “Hands” (1977, camera: Ion Grigorescu), subtitled “For the eye, the hand of my body reconstitutes my portrait”, the actors are the artist’s hands. Through a cinematic succession of suggestive gestural movements, the hands are seen as selecting, playing with small objects and then drawing their linear profile on the table, providing an alternative mode of reconstructing the artist’s portrait / identity.

Geta Brătescu was born in Ploiesti in 1926. She lives and works in Bukarest.

An exhibition catalogue is being published.
___________________________________________

Ana Lupas figures among the most important international artists who, through a sophisticated process of creation, have continually expanded the understandings of Conceptual Art. Author of objects, textiles, environments, happenings, installations, performances, Ana Lupas has developed, starting from the mid-sixties, a complex nest of art interventions which have systematically aimed at dismantling the traditional structure of the artwork. Aspiring at a re-connection with the natural, at a rehabilitation of a virtual universal harmony, her performative installations and objects acquire utopian feature and monumental presence.

The exhibition at Galerie im Taxispalais is focusing on two extensive outdoor installations produced during the mid-sixties and beginning of the seventies. 1970 Ana Lupas created the first large “Humid Installation” in Mârgău village, Transylvania which was realized with the help of 100 inhabitants of the village. Dozens of lines hung with wet, white linen were drawn over the whole of a hill, modulating the space, aiming to an infinite dimension and to a global natural continuation.

Already in 1964 Lupas created the work “Solemn Process“, minimalist objects manufactured of straw in various dimensions: steles, wreaths and circles which were installed and arranged outdoors and inside the village’s houses. Involving the people in the production of these objects, “Solemn Process“ embodies a traditional ritual whose solemnity generates not only the production of formal structures beautiful in their representation which melt within the rural surroundings, but also a new reconsideration of the conditions of creation of the art object.

In her later process-related steps Lupas transformed some of her early works by conveying them into new materials. For example, she created linen-formed sheets out of bitumen-saturated textile, paper or aluminum; for her straw objects she produced closed, sculptural plate repositories which she entitled “cans“. Lupas shows a space-filling installation of these sculptures, whose interior is not revealed anymore, together with two large tableaus of images from 1964. Further on show is an indoor version of „Humid Installation“.

Ana Lupas was born in Cluj in 1940. She lives and works in Cluj.

An exhibition catalogue is being published.

Information
Karin Jaschke, Press and Publicity, karin.jaschke@tirol.gv.at
Silvia Eiblmayr, Director

Galerie im Taxispalais
Maria-Theresien-Str. 45
A-6020 Innsbruck, Austria
T +43 512 508 3171
http://www.galerieimtaxispalais.at

Thanks to
Promocult – Project supported by Ministry of Culture and Cults, Romania
Romanian Cultural Institute, Vienna
Centre for Visual Introspection, Bukarest

print 100×120 cm

Loumuiotis Dimitrios Digital art http://www.artmajeur.com/loumiotis/

Cromogenias 10

With “Cromogenias” Pepo Alcalá (Malaga, 1973) explores the limits of the abstract photography. He seeks to create, with photographic tools, a world imagined, shaped by fantasy, through an inner journey. “Cromogenias” are not digital images created by computer. The raw materials of this serie are the water and the wine. Pepo, using the correct light, looks for the transparency of these elements so they acquire abstract forms and colors, but only photographing the reality. This Spanish artist shows us that the photography is no based only on observing and capturing the real but it also creates images of great beauty. So Pepo Alcalá is absolutely right when he says that “the photography, wich is now universally acknowledged as art, should not limit itself to mimesis but to seek its own path of development and to show that not only is able to capture images but also to create them”

COLORIDA ART GALLERY
Rua Costa do Castelo 63, Lisboa
Tel 211 512 142
http://www.colorida.pt

Until July 12, from Tuesdays to Saturdays, 1:30PM to 7PM.

Interactive objects in the permanent exhibition

The Deutsches Hygiene-Museum is neither a science centre nor a special museum with a fixed subject range but a forum for dialogue between science and society. In its variety of exhibitions and events it reflects the impact of science on society in the 21st century.

The museum’s task is to promote understanding of the sciences and to make the human being accessible as a biological, psychological, social and cultural network through interdisciplinary exhibitions. The practice of cross-disciplinary activity between the natural and cultural sciences is observable today throughout the science landscape and portrays the human being in new unusual perspectives and a variety of contexts.

MARVELING – LEARNING – TRYING OUT
The permanent exhibition revolves around a topic that is as obvious as it is demanding: the human being. The 1,300 displayed objects complement specially made media units and interactive displays to provide an informative and engaging museum experience. Addressing the vastly different needs of the visitors, this multifaceted approach to the topics treated in the exhibition has come to make the Deutsches Hygiene-Museum one of Europe’s most interesting museums of science.
The exhibition is conceived as an adventure into one’s own body, self, thoughts, and feelings. The range and juxtaposition of the objects achieve the ideal of any exhibition—they inspire the visitor’s imagination and elicit reflection. The architecture of their presentation does not rely on spectacular scenographic effects but rather builds on the strengths of classical museum aesthetics.

THE SPECIAL EXHIBITIONS
The special exhibitions are another focus of the museum’s work and have contributed considerably to the Dresden museum receiving national attention. The exhibitions come into being through close co-operation between curators and scientific project groups as well as designers, artists, engineers, set designers and exhibition architects. They deal with the most up-to-date scientific research as well as everyday culture and analyse socio-political problems or philosophical and historico-cultural themes, as for example: “Darwin and Darwinism” (1994), “The Pill. Of Desire and Of Love” (1996), “Old & Young. The Generation Adventure” (1997), “Gene Worlds. Workshop Man?” (1998), “The New Human Being. Obsessions of the 20th Century” (1999), “Cosmos in the Head. Brain and Thinking” (2000), “The (Im-)perfect Human Being. The Right to Imperfection” (2000), “Sex. Facts and Fantasies” (2002), “Man and beast. A paradoxical relationship” (2002), “The Ten Commandments” (2004) “PLAY. The
Exhibition” (2005), “Evolution. Tracing the Odyssey of Life” (2005/06), “Fortune, Luck, and happiness” (2008), “Weather, Climate, Man” (2008).

For further information check www.dhmd.de

C-print

Art works of Dimitrios Loumiotis http://www.artmajeur.com/loumiotis/

http://www.absolutearts.com/portfolios/l/loumiotis/

Loumiotis Digital art by absolutearts

Folded In - Irena Paskali, treto

° FOLDED-IN, June 9th - June 27th 2008

Opening
7 June 2008, 19.00

Project Curator: Personal Cinema & the Erasers
Presentation: Ilias Marmaras, Gülsen Bal und Daphne Dragona

Lecture/talk
09 June, 19.00 – 20.30

Ilias Marmaras and Fahim Amir with Gülsen Bal (Language: English)
at Akademie der bildenden Künste Wien

FOLDED-IN
Crossing the borders of a WEB 2.0 reality

The reason for such an undertaking is that we live in a moments of rupture that regulates the transformations of “demographic politics” and politicisation of life. The main idea behind this involves a concern for affairs that are brought to the attention to bio-politics. We’re not only talking about the culturally specific conditions within shifting modalities, but towards far broader issues that reaches its debates around cross border dialogue, cultural intersections, crossings and/or networks which are profoundly rooted in a “disappearance” of subtle, ‘concrete’ boundaries.

By problematising the “transitory character” where different visions are converging and moving in defining and redefining the borders within new forms of articulation, the question we wish to raise is: what is this really referring to? What would happen when we encounter with a discursive space that produces a reality in which “there is no state in Europe” beyond its borders.

This exposes the imaginary geography and imaginary history which establishes a landscape by bringing together different modes of representation that are usually kept apart. And this coming to presence is by no means a certain matter as the definition of ‘folded-in’ refers a condition of existence.

This is why FOLDED-IN, an online multi-user platform that combines videogame basic elements with the possibility of a constant data flow, addresses the creation of an online community that will not only be part of the game but will create the networking that conveys the world in our absence in its multiplicity.

Thus the concept of becoming minor in its orientation; the project FOLDED-IN aims to take videos out of the context of the Greek-Turkish war (or any similar war or conflict situation in every part of the world) and of the Youtube framing and to re-register them, assigning to them a new role, that of a composing active element in a gameplay. In other words, the aim is their deterritorialization from the broadcast space of Youtube literally, but also metaphorically as signs, transforming the videos from mere screens, to game elements of a further play. FOLDED-IN project is an effort to interrupt the dominant process of propaganda re-production to be an ‘’affinity to infinity’’ an affinity for an always needed redefinition of its products. This generates specific impulses that form the recognition of reality where this manifests a progressive approach to a critical engagement within a creative practice.

The key to understanding this question is related to the concept “yet-to-come” (virtuality) that belongs to ‘being-in-the-world’.

Lecture/talk by Ilias Marmaras and Fahim Amir with Gülsen Bal will cover the presentation of the project and further some extends to the web 2.0 social politics.

Sponsoring and kind support provided by:

BM:UKK
Interkulturelle und Internationale Aktivitäten
Akademie der bildenden Künste Wien

for more info: office@openspace-zkp.org

http://www.openspace-zkp.org

Pushwagner, Detail from “Klaxton”, 1990, acrylic on canvas, private collection (Oslo)

Opening on Saturday, June 14
June 15 – July 27, 2008

Yael Bartana, Gregg Bordowitz, Heman Chong, Ciprian Muresan, Deimantas Narkevicius, Redza Piyadasa, Pushwagner, Anatoli Osmolovsky, Mona Vatamanu & Florin Tudor

Curated by Cosmin Costinas

The Attali Report (or the Report of the Commission for the Liberation of French Growth), commissioned by President Sarkozy, was published half a year ago, provoking a long series of discussions, mainly confined to the French public arena and mainly focused on the report’s concrete proposals, set to implement a neoliberal model for the French economy and society. But the Attali Report is a surprisingly interesting text, especially in its emphatic high brow literary introduction, being one of the first major instances where the neoliberal system is asserted beyond the rather discreet discourse of the “necessary reforms” through which it has insinuated itself since the eighties. It is now invested with the value of a concrete historical paradigm, of a describable era of revolutionary novelty, making the Attali Report a relevant document for the current attempts to imagine a dominant narrative representing and organizing the scope of our global system.

However, this exhibition is neither about the Attali Report nor is it a report itself. It does, nonetheless, try to unfold fictions and images that offer an insight on different narratives that have been overlapping for the past decades in our thinking of politics, at different times and in different localities. It refers to the disintegration of the communist utopia and some images, passions, stories and reactions that came along with this process; it visits the meeting of fiction and Utopian thinking on both sides of the Iron Curtain; it mentions some processes of exoticization and nation building; it acknowledges the formation of communities of struggle and resistance. But the works don’t passively present such narratives, they alter them and participate - albeit indirectly - to their fabrication. The exhibition works at this point of interaction between story telling and political imagination, a knot that encapsulates the political potential of art as an agent of represe!
ntation.
It brings together these occurrences and positions, sometimes contradictory, sometimes doubtful and sometimes passionately engaged and determined.
The reference to the Attali report on the state of France, a highly specific and local anchor, is used to take the discussion into a wider perspective, to mark the moments and the blockages - as well as some parallel areas of articulation - that have contributed to the current crisis in the imagination of a language and a scope for politics.

The exhibition is accompanied by interventions of writers and critics and by a film program that reiterates a few lines of the exhibition, using the cinematic language and its potentials.

KADIST ART FOUNDATION
19bis-21 rue des Trois Frères
F-75018
Phone/Fax : +33 1 42 51 83 49
contact@kadist.org
www.kadist.org

Opening hours
Thursday – Sunday, 2pm to 7pm

Accompanying program

Saturday, June 14, 11am
Interventions by Sven Luetticken and Simon Sheikh.

Saturday, June 14, 1pm
Screening of the film «Fast Trip, Long Drop» (1994) by Gregg Bordowitz, with an introduction by the artist.

Friday, June 20, 8pm
«Agitators» (1971) by Dezso Magyar.
«Family Nest» (1979) by Bela Tarr.

Sunday, June 22, 8pm
«I am Cuba» (1964) by Mikhail Kalatozov.

Tuesday, June 25, 8pm
«Out of the Present» (1995) by Andrei Ujica.

The film program and the talks will take place at the cinema Ciné 13, located in the vicinity of Kadist Art Foundation.

Ciné 13
1 ave Junot
F-75018 Paris
Phone : +33 1 42 51 13 79
http://www.cine13-theatre.com/

The exhibition is generously supported by Plan B, Cluj; OCA - Office for Contemporary Art Norway, Oslo; Royal Danish Embassy in Paris; Lithuanian Institute, Vilnius.