Artipedia - Arts News

Christine Meisner, The Present, Videostill from “… ‘Can you turn back?” (2007)

19 October 2008 – 04 January 2009

Extra City Center for Contemporary Art Antwerp is proud to announce its participation in the inaugural Brussels Biennial, with a project titled ‘Letter to Leopold’.

‘Letter to Leopold’ is a project bringing together some ten participants in a reflection on Belgium’s history, its global dimension in modernity, and its present day legacy and implications for Europe and European policies. Leopold refers to Leopold II, King of Belgium until 1909, owner of the ‘private’ colony ‘Congo Free State’ which was later handed over to the state of Belgium and which gained independence as the Democratic Republic of Congo in 1960.
‘Letter to Leopold’ is an exploration of art’s possibilities to ‘speak to the past’.

Post Sorting Center - Avenue Fonsny 48 - 1160 Brussels
http://www.extracity.org
http://www.brusselsbiennial.be

Delaine Le Bas - Paradise Found

DELAINE LE BAS
PARADISE FOUND

8 November 2008 - 7 February 2009
Opening 8 November 2008

“Fed and feeding brains about me: under glowlamps, impaled, with faintly beating feelers: and in my mind’s darkness a sloth of the underworld, reluctant, shy of brightness, shifting her dragon scaly folds. Thought is the thought of thought. Tranquil brightness. The soul is in a manner all that is: the soul is the form of forms. Tranquillity sudden, vast, candescent: form of forms.”
James Joyce, Ulysses, 1922

The God of Eden saw disaster in the Fall, the awakening of the beings he had created. For those beings it was their punishment, the expulsion from the Garden, that actualised the change. The glade of lyres and fruits and lulling sleep is lost, guarded by the cherub with its lion body, head of man and flaming sword. In place of the Garden there would be the scattered domicile, each with its four frenetic walls of childbirth, relationship, activity and death; a diaspora clogged by claustrophobia.

Within these walls Delaine Le Bas works, roofed by the long shadow of Eden, the gazes of spies seduced at the threading of new gardens, seething at them. A womb of dolls will populate the stage, a weaving of different tendrils shade them; light and sky and bird preciously stitched to the world, charms and lucky numbers cast, some hemmed in tight to seal the second world against expulsion by the “miasma of a rotting God” .

The underworld colludes in the project. Skulls are embraced as helms and emblems by the fabric children, masked and dressed in frills that match their own gauze skins, machined gifts of maternal layers, guarding and pretty. The doll wields powers here. Lurking among beds and tents, its dark eyes and sunken cheeks like the toucan-nosed quack of the plague, it stalks the wicked. And the ambiguities are frightening to Hell. The masked ones might be hero, phantom, human with animal mother’s mask, a knowing puppet suckling the wild in fenced confines. Even the belted tormentors of Dante and Bosch will run from them, chased out of their element by peachy faces decked in leather and skulls.

The dragon scales of darker places are rent and scattered, made sequins on the backs and wings of gaudy new species. Begetting, remembering, listening to each other’s whispering antennae, they are the soldiers and the nurses of Le Bas’ work, a conspiracy of parts rejected for their uselessness, irrelevance or evil, changed and quickened by living stitches loving colour, clutter, seeing paradise encrusted on the off-cast and the found.

Delaine Le Bas has exhibited in the First Roma Pavilion PARADISE LOST at the 2007 Venice Biennale, and in a solo exhibition at Galerie Giti Nourbakhsch, Berlin, in 2008. PARADISE FOUND is her first solo exhibition at Galleria Sonia Rosso.

Damian James Le Bas, 2008

Galleria Sonia Rosso
via Giulia di Barolo, 11/h
I - 10124 Torino
tel.: +39 011 8172478
fax.: +39 011 8172478
info@soniarosso.com
www.soniarosso.com

Poster

Cris Orfescu has been invited to exhibit NanoArt to the 2008 Prince of Asturias Awards at the Campoamor Theatre in Oviedo, the capital of Asturias, Spain.

The Prince of Asturias Foundation has conferred its Awards yearly ever since 1981. They are intended to acknowledge scientific, technical, cultural, social and humanitarian work carried out internationally by individuals, groups or organizations in the following eight categories: communication and humanities, social sciences, arts, letters, scientific and technical research, international cooperation, concord and sports. H.R.H. Felipe de Borbón, Prince of Asturias and Heir to the throne of Spain is the Honorary President of the Foundation that bears His name since its creation in 1980. The aim of the Foundation is to contribute to encouraging and promoting scientific, cultural and humanistic values that form part of mankind’s universal heritage. Bob Dylan, Al Gore, George M. Whiteside, Google, National Geographic Society, Maya Plisetskaya, Woody Allen, Paco de Lucia, Bill and Melinda Gates Foundation, Lance Armstrong, Vittorio Gassmann, Yehudi Menuhin, Michail Gorbachev,!
Carl
Lewis, are among the winners since the beginning of the award. The award presentation ceremony is considered as one of the most important cultural events in the international agenda. Throughout its history, these awards have been honored with different recognitions, such as UNESCO’s declaration in 2004 acknowledging the extraordinary contribution of these awards to mankind’s cultural heritage. This year, the grand presentation ceremony is to be held on Friday, October 24th at 6:30 pm.

NanoArt is a new art discipline at the art-science-technology intersections. It features nanolandscapes (molecular and atomic landscapes which are natural structures of matter at molecular and atomic scales) and nanosculptures (structures created by scientists and artists by manipulating matter at molecular and atomic scales using chemical and physical processes). These structures are visualized with powerful research tools like scanning electron microscopes and atomic force microscopes and their scientific images are captured and further processed by using different artistic techniques to convert them into artworks showcased for large audiences.

NanoArt is the expression of the New Technological Revolution reflecting the transition from Science to Art using Technology and could be for the 21st Century what Photography was for the 20th Century. Over the past two decades the ability to measure and manipulate matter at atomic and molecular scales has led to the discovery of novel materials and phenomena. These advances underlie the multidisciplinary areas known today as Nanotechnology. The responsible development and application of Nanotechnology could lead to create jobs and economic growth, to enhance national security, and to improve the quality of life. Some of the benefits would be cleaner manufacturing processes, stronger and lighter building materials, smaller and faster computers, and more powerful ways to detect and treat disease. NanoArt is aimed to raise the public awareness of Nanotechnology and its impact on our lives.

For updated information about the event, please check the event site at http://www.fundacionprincipedeasturias.org/ing/00/index.html.

To view Orfescu’s work visit www.crisorfescu.com or www.absolutearts.com/nanoart

Leonard Konopelski - Polish Poster

Leonard Konopelsk exhibition in PigAsUs - Polish Poster Gallery in Berlin 06.10.08 - 28.10.08 http://www.pigasus-gallery.de

Torstr. 62,
10119 Berlin
Germany

Leonard Konopelski
Biography
Leonard Konopelski received his MFA from the Academy of Fine Arts in Warsaw, Poland in 1973. His works can be found in many private collections in Kyoto, Copenhagen, Berlin, Budapest, Warsaw, Ottawa, New York, San Francisco, Seoul, Strasbourg and Sydney. Between 1973 and 1975 he was the set and costume designer for the Polish Theater production of Dostoyevsky’s The Idiot, as well as Polish films Melex and Krak’s Career, a 20-week television series in Warsaw. He was also the animator for a few films. Since coming to the United States in 1975, Leonard has been a Visiting Artist lecturer at the California Art Institute at Valencia, California State University at Fullerton, and the California State University at Long Beach, Art Center College of Design in Pasadena. Leonard has also created posters and album covers for both Warner Brothers and A&M Records, as well as designed posters for the Mark Taper Forum in Los Angeles, and the Solari Theater in Beverly Hills. He has illu!
strated
national publications, served as Art Director for the syndicated Richard Simmons Show. Hi is currently teaching at Art Center College of Design in Pasadena.

‘untitled’ (from 5 second cityscapes) 2007 - Gregor Stephan

Enda O’Donoghue, Gregor Stephan, Sven Kalden, Sean Lynch/Michele Horrigan, Sladjan Nedeljkovic / Karin Krautschick, Isidro Ramirez, Paul Halliday, Raphael Grisey, Michael Tan

Nine artists together around one plaza. An exhibition at Platz der Vereinten Nationen 1.

Berliners and visitors to the city passing the Palast der Republik today see only the concrete towers that once supported the building. There is little here now to remind them of the Palast itself. Every day, the viewer’s knowledge is adapted to the latest changes at the site, slowly erasing the pictures of the intact original from memory. A similar process took place in the early 1990s at what is now Platz der Vereinten Nationen. Besides the monumental statue of Lenin that once stood here recalling the Palast’s monumental concrete pillars, its slow and laborious removal was also characteristic of the way Berlin deals with its (architectural) past. The end of the story is well-known: the monument was dismantled, the parts including the head were buried in Köpenick, and the Leninplatz was renamed. In spite of, or perhaps precisely because of this neutralisation, the place retains a sense of the unusual.

This is now demonstrated by ‘Ein Platz’, an exhibition organised at 1, Platz der Vereinten Nationen by Enda O’Donoghue and Gregor Stephan with the kind support of Galerie Hunchentoot and WBM. The show includes material by nine German and international artists, bringing together video, photography and object-based works that take the Platz der Vereinten Nationen as their point of departure. All of these works play with the ordinariness and supposed neutrality of the plaza, and with the peculiarities, stories and memories that lie beneath the surface.

Address: Platz der Vereinten Nationen 1, 10249, Berlin
Opening: 10.10.2008 at 19:00
Exhibition runs: 10.10. to 01.11.2008
Wed to Fri - 16:00 to 19:00
Sat 11:00 to 18:00
and by appointment

http://www.galerie-hunchentoot.de

Sahara Chronicle, Ursula Biemann

° Networked Cultures, 10 October - 19 November 2008

Opening
9 October, 19.00 – 21.30

Project curators: Peter Mörtenböck and Helge Mooshammer

Participant artists:

Judith Augustinovic
Ursula Biemann
hackitectura.net

Film by Peter Mörtenböck and Helge Mooshammer

Book presentation and panel discussion:
Networked Cultures – Parallel Architectures and the Politics of Space
22 October 2008, 19.00 at Architekturzentrum Wien – Podium

Emiliano Gandolfi, Doris Burtscher, Gulsen Bal and Margarethe Makovec
Moderation: Peter Mörtenböck and Helge Mooshammer

Whether in the form of transnational politics, global economies, new working conditions or urban social movements, networks have become the most powerful figure of thought operating on the way we conceive the organisation of the world. Networks have changed our forms of cultural interaction and coexistence just as they have the way in which we produce and experience spaces.

The engagement with these developments on the part of art and architecture in recent years has resulted in a new form of praxis founded on collective production, process-guided work and transversal project platforms. Such a ‘disciplineless’ praxis of unsolicited intervention in spatial contexts renders legible the dysfunctional rules of planned spatial and cultural containment and creates an avenue for generating new forms of circulation amidst the political efforts to conceal this failure. It makes use of existing networks, expands and changes them, gives rise to new circuits and thereby sketches a mobile geography of self-determined utilization of space and culture.

The project Networked Cultures aims neither to present this development as a contained movement nor to localize it within the particularities of a specific geographic or institutional context. We are far more interested in its propinquity to a plethora of other self-authorized structures, irregardless of their scale – gray markets, informal commerce, alternative economies and migratory practices as well as the innumerable, minor, barely discernible attempts to establish self-determined sociality in the midst of the reconfiguration of our environments.

www.networkedcultures.org

supported by

BM:UKK
Stadt Wien - Kulturabteilung MA 7

in co-operation with:
Architekturzentrum Wien

°About us

Open Space
Zentrum für Kunstprojekte
Lassingleithnerplatz 2
Schwedenplatz
Wien 1020
Austria

(+43) 699 115 286 32

for more info: office@openspace-zkp.org

http://www.openspace-zkp.org

Open Space - Zentrum für Kunstprojekte aims to create the most vital facilities art concerned with contributing a model strategy for cross-border and interregional projects on the basis of improving new approach.

C-print

Loumiotis dimitrios by Gallery kosmima
http://www.artmajeur.com/loumiotis/
chimaras@gmx.at

Back in Baby´s Arms

Back in Baby’s Arms, en performance av Elin Lundgren.
11 oktober 2008 kl 14.00, Gustav Adolfs torg, Malmö

Motståndets estetik. 100 kvinnor, en stilla bussresa. 100 kvinnor med 100 olika ansikten på misshandel stiger av bussen, och i en samlad tyst koreografi sprider de ut sig över Gustav Adolfs torg i centrala Malmö en lördag eftermiddag i oktober. En stilla stum massa, placerad mellan de helgflanerande människorna. Ansiktena uppvisar spår av slag, brännmärken och struptag. Ingen talar, endast blåmärkena och rivsåren på deras ansikten, halsar och händer berättar en historia. Var och en sin egen. Tystnaden och dessa ansikten talar ett universellt språk vi inte kan värja oss emot. Dessa kvinnor finns ibland oss oavsett etnicitet, social status eller ålder.
Plötsligt står hon där, en reflektion av kvinnan eller flickan du är bekant med, hör genom tunna väggar eller hon som du i din bekantskapskrets anar blir utsatt för misshandel. Det vi väljer att inte se, inte kännas vid, står mitt framför oss och tar plats.
Titeln Back in Baby’s Arms är en låttitel av Patsy Cline från 1963 och belyser det motsägelsefulla i dessa relationer samt omgivningens, samhällets paradoxala skuldbeläggande av kvinnan i relationer där misshandel förekommer; ”Varför lämnar hon inte bara honom? Jag skulle aldrig låta det ske med mig, jag skulle gå vid första slaget!”

Elin Lundgren väljer aktion som konstnärlig metod. Hon skapar en tableau vivant, en levande bild, likt en dröm eller en mardröm som ogenerat gör anspråk på vår tid och vårt medvetande då hon parasiterar den offentliga platsen med sitt verk. Performancen Back in Baby’s Arms försätter betraktaren i en obekväm situation och syftar till att perception omskapas och det egna ställningstagandet ifrågasätts. Elin Lundgrens arbete uppvisar tillit till konstens potential att utöva motstånd och öppna upp för dialog såväl som dess möjlighet att nå platser inom individen som inte låter sig definieras i rationella termer. Att publiken och i detta fall de passerande” flanörerna” genom upplevelsen omförhandlar egna röster, seenden och begär.

Elin Lundgren (f. 1973 i Stockholm, bor och arbetar i Malmö), Grundare och konstnärlig ledare av Lilith Performance Studio. Har skrivit, agerat, regisserat och producerat teater, film, performance samt festivaler sedan 2001.

(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.

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