Artipedia - Arts News

VIDEONALE 12

CALL FOR ENTRIES -
VIDEONALE 12
Application deadline: 31 August, 2008

Videonale e.V.
im Kunstmuseum Bonn
Friedrich-Ebert-Allee 2
D- 53113 Bonn
Tel: +49 (0) 228 692 818
einsendungen@videonale.org

http://www.videonale.org

MONITORING THE FUTURE

“We are looking for video art which, today, is already part of tomorrow’s breeding ground,” says Georg Elben, curator of the VIDEONALE 12. Quo vadis video art ? this is the question the VIDEONALE at the Bonn Kunstmuseum has addressed every two years since 1984. As of now all artists are invited to apply for the VIDEONALE 12 with a video work created in the past two years.

One of the oldest festivals for video art in the world, VIDEONALE 12 will present the latest trends in video art from 26 March to 26 April 2009. There is no set topic for submissions, but only single-channel works can be entered. VIDEONALE 12 will open with a four-day festival featuring a variety of events. The exhibition will run for four weeks, showcasing 40 to 50 video works chosen by an international jury. VIDEONALE has “always had the advantage, as a kind of film festival for video art, of being able to provide a realistic assessment of the current filmic state of development of this genre. That is what defines its function as an aesthetic gauge.” (K.WEST) The works featured at VIDEONALE 12 will be shown in other international institutions following the exhibition at the Bonn Kunstmuseum; the works chosen for VIDEONALE 11 were, among others, shown in 2007 at the Reina Sofia Museum in Madrid and 2008 at the Bangalore Goethe Institut.

“Thinking outside the box” the Bonn Videonale is looking for new ways of presenting video art,”(Süddeutsche Zeitung) - VIDEONALE is particularly interested in developing new forms of presentation for video art beyond the black box. For the past years each VIDEONALE has commissioned a new team of architects and designers to create an innovative exhibition design, both technically and artistically, for presenting the exhibition in the context of a museum. “We are happy about the attention and broad recognition from the specialist audience we have received in the last years for our pioneering work in this field where, so far, only a small number of convincing approaches have been found,” says Georg Elben.

The videos presented at VIDEONALE 12 will automatically be taking part in the competition for the Videonale award worth 5.000 Euro which will be awarded by a second international jury. Application deadline is 31 August 2008. All information and entry forms can be found at http://www.videonale.org

Contact:

Videonale e.V. im Kunstmuseum Bonn
Friedrich-Ebert-Allee 2
D- 53113 Bonn
Tel: +49 (0) 228 692 818
einsendungen@videonale.org
http://www.videonale.org

Museum Het Domein

Image: Photo collage for invitation 2008.

Lara Schnitger & My Barbarian

Dance witches Dance
Opening: Friday August 29, 17 h.
with a performance by My Barbarian

August 30 - November 30, 2008
Solo exhibition contemporary art:
installation, performance and video

Museum Het Domein
Postbus 230
6130 AE Sittard
T.0031 46 4513460
The Netherlands

http://www.hetdomein.nl

Dance witches Dance plunges the public and sculptures in Het Domein into a trance and sets them dancing. This is the first time that Lara Schnitger (1969, Haarlem) has worked in close collaboration with performance group My Barbarian. The group, and Schnitger, are based in Los Angeles. In an installation, a film and texts, the characters in the songs literally acquire a physical presence and Schnitger’s sculptures evolve their own quirky personalities. In a frantic Faustian interaction, boundaries between real and unreal, creator and creation, public and actor, gay and straight, touch and smell, vanish.

Schnitger has figured in numerous performances by My Barbarian. In Gods of Canada, she designed the costumes and flags and, in Voyage of the White Widow, played a Dutch bird. In Dance witches Dance populated by a cast of mainly female characters, the disparate facets and personas are highlighted; and sexuality is a central theme. With their ornamental, erotic or clownish fabric designs, Schnitger’s canvas sculptures are provocative and playful. The charged physical presence is underlined by expressive titles like Fun Bags, Beijing Bitch or Flasher. In each work, a fabric skin is stretched over an asymmetrical, weirdly shaped, almost shapeless wooden frame. Skin is an important theme: what lurks below and what above and, by extension, identity, social engagement and femininity. Schnitger translates these themes into powerful physical statements in the form of collaged patterns, texts and photos.

Schnitger has exhibited at Sonsbeek Arnhem (2008), Stuart Shave/Modern Art London (2007), National Museum of Contemporary Art, Oslo (2007), The Saatchi Gallery (2006), Anton Kern Gallery New York (2005), Hammer Museum Los Angeles (2005). The exhibition at Museum Het Domein is her first solo museum exhibition in the Netherlands.

A catalogue with documentation on the collaboration between the artist and My Barbarian, accompanies the exhibition.

The T-time with Lara Schnitger is on Sunday 31 August at 12.30 and deals with performance art as a fusion of theatre, music and visual art. But watch out for guerrilla theatricals and activist artists.

At the same time you can visit in the ProjectRoom of the museum the exhibition of Serge Onnen: Champagne Scissors Holes, drawings, installations, animations. ( til oktober 19 )

Further information and visuals can be found in the press room, on the museum’s home page: http://www.hetdomein.nl Or contact Karin Adams orf Lene ter Haar 046 -451 34 60; karin.adams@hetdomein.nl

MEGASTRUCTURE RELOADED

Guenther Domenig & Eilfried Huth
Stadt Ragnitz with Wohnvolumen Habitat, 1969.

Visionary architecture and urban design of the sixties reflected by contemporary artists

by European Art Projects

20 September - 2 November 2008
Preview: 19 September 2008

Symposium
18 & 19th of October 2008

Former State Mint
Molkenmarkt 2
Berlin-Mitte

http://www.megastructure-reloaded.org

Architects and artists:
Archigram, Archizoom, Alan Boutwell, Guenther Domenig & Eilfried Huth, Constant, Yona Friedman / Groupe d’Etudes d’Architecture Mobile, Eckhard Schulze-Fielitz, Superstudio

José Dávila, Simon Dybbroe Moeller, Ryan Gander, Erik Goengrich, Franka Hoernschemeyer, Gordon Matta-Clark, Victor Nieuwenhuijs & Maartje Seyferth, Tobias Putrih, Tomás Saraceno, Katrin Sigurdardóttir, Tilman Wendland

curated by Sabrina van der Ley and Markus Richter / European Art Projects

In the early 1960s, the London-based Archigram group around Peter Cook designed Plug-In City, a megastructure in the form of a both roomy and gigantic framework into which mobile units (Plug-Ins) for all sorts of purposes and needs could be slotted, moved, and removed. Nothing was predetermined; everything was to change according to the changing needs of its users. Around the same time, Constant Nieuwenhuys in Amsterdam was working on New Babylon, an urban landscape branching out like a rhizome covering existing cities, resting on columns and pillars. The “sectors” of New Babylon form one endless, convoluted spatial continuum, a tangle of levels and passages, joined by struts and braces. The interiors are neither fixed nor defined. Rather, space is redefined over and over again by “homo ludens,” drifting through the labyrinthine passages, determined solely by creativity and the power of his imagination.

MEGASTRUCTURE RELOADED is dedicated to the visionary urban designs of the 1960s, which crystallize in the idea of the Megastructure. These urban visions are setting the starting point for ten projects by contemporary artists. José Dávila (Mexico), Simon Dybbroe Moeller (Denmark), Ryan Gander (GB), Erik Goengrich (Germany), Franka Hoernschemeyer (Germany), Victor Nieuwenhuijs & Maartje Seyferth (Netherlands), Tobias Putrih (Slovenia/USA), Tomás Saraceno (Argentina/Germany), Katrin Sigurdardóttir (Iceland/USA) and Tilman Wendland (Germany) have developed installations especially for the theme megastructure. Aside from these contemporary statements the exhibition will show drawings, collages and models of megastructure projects from the 1960s. The designs by Archigram, Archizoom, Alan Boutwell, Yona Friedman, Guenther Domenig & Eilfried Huth, Constant Nieuwenhuys, Eckhard Schulze-Fielitz and Superstudio are not only interesting as architectural projects. They also fascinate
with their visual strategies borrowed from pop culture as well as through their ability documenting the times of reflection of the social fermentation crucial for the 1960s. In addition, we will show Gordon Matta-Clark’s film on his Parisian installation Conical Intersect, which was set-up in 1975 across from the construction site of the Centre Pompidou, one of the few realized megastructures.

The exhibition architecture is developed by Dennis Crompton, a former member of Archigram, in collaboration with raumlabor_berlin, a Berlin based collective of architects. The exhibition will not only do justice to the subject in terms of content; megastructures will also be represented by the exhibition’s architecture.

The exhibition will not be a documentary representation however; instead the megastructuralists are to be tested for their currency and relevance to the problems of contemporary urban design. The focus will be on the connection, so significant for these designs, between spatial structures and visual art, as well as on actual architectural and urban-design issues, while examining whether megastructures offer a feasible conceptual approach for the problems of fast-growing mega cities.

Thus, integral parts of the project will be a symposium and a workshop. The symposium with renowned international scholars, urbanists and architects will take place at the exhibition venue on 18 and 19th of October 2008. It will be followed by a workshop with young architects, architectural students and researchers.

A comprehensive bilingual catalogue will be available published by Hatje Cantz (order no. ISBN 978-3-7757-2216-2). With 368 pages and more than 150 color illustrations it features texts by Eilfried Huth, Thilo Hilpert, Carsten Krohn, Tom McDonough, Pelin Tan, Marie Theres Stauffer, Hadas Steiner, Joyce Tsai, Florian Urban, and others. The catalogue, edited by Sabrina van der Ley and Markus Richter, investigates the subject in more depth, tracing the megastructuralists’ historical precursors, and examining the relationship between the Megastructure-Avantgarde and the architects who in the 1950s actually realized new cities such as Chandigarh and Brasila. The movement’s individual protagonists will be presented in detail and there are introductions on all the artists. Moreover, there will be ten artists’ plug-ins, visual essays by each of the participating artists presenting their personal approach towards the concept of Megastructure.

MEGASTRUCTURE RELOADED is funded by the Capital Culture Fond, Berlin and the Berlin Lottery Foundation

Additional support is kindly provided by the British Council, Berlin; Danish Arts Council, Center for Icelandic Art, Reykjavik; Fundación/Collección Jumex, Mexico; Ikea Stiftung, Hofheim-Wallau; Koenig GmbH & Co KG, Moringen; Lafarge Gips GmbH, Oberursel; Nuessli AG, Huettwilen; The Henry Moore Foundation, Perry Green; Mexican Embassy in Berlin/Office of Foreign Affairs of Mexico and the Mondriaan Stichting, Amsterdam.

Project Partners: Archigram Archives, London, Center for Metropolitan Studies, Berlin; Greige / Buero fuer Design, Berlin, Hatje Cantz, Berlin; raumlabor_berlin and Weiss-Heiten Design, Berlin/ London/ Paris

For images and further information please view http://www.megastructure-reloaded.org or contact Anne Maier at European Art Projects, am@european-art-projects.eu, Tel. +49.30.30 38 18 37.

http://www.megastructure-reloaded.org

Gwangju Biennale

CHEN QIULIN: Still from The Garden, 2007
Color video installation with stereo sound, 15:11
Copyright Chen Qiulin
Courtesy the artist and the Long March Foundation, Beijing.

The 7th Gwangju Biennale
Annual Report:
A Year in Exhibitions

Duration:
September 5 - November 9, 2008
Professional Preview:
September 3 and 4, 2008
Press Preview:
September 4, 2008

Gwangju, South Korea
http://www.gb.or.kr

The 7th Gwangju Biennale takes place from September 5 to November 9 in the city of Gwangju, South Korea. It is curated by the artistic director Okwui Enwezor and the co-curators Hyunjin Kim and Ranjit Hoskote.

Under the title Annual Report: A Year in Exhibitions, the 7th Gwangju Biennale is a report on the distribution system of artistic and cultural forms and a reflection on the intermediary gap between artists, producers, practitioners, and audiences. Consisting of 127 artists from 36 countries, Annual Report is developed around three principal components: first, On the Road is a report on 36 recent exhibitions that have occurred or have been exhibited elsewhere between 2007 and 2008; Position Papers is a platform dedicated to curatorial proposals and experiments in exhibition practices by curators working in Southeast Asia, North Africa, South Korea, and the United States (Patrick D. Flores, Jang Un Kim, Abdellah Karroum, Sung-Hyen Park, and Claire Tancons); finally, Insertions presents a series of new and independent projects, either commissioned specifically for the biennale or invited as proposals into the exhibition framework.

All three elements of the Biennale bring together a range of activities produced across the span of nearly eighteen months. The exhibition will serve as hosting site, incorporating into its sequence of galleries and sites a series of activities ranging from performances, readings, film screenings, music, dance, theater, to quite a few very unique examples of contemporary exhibition-making. Using the notion of the space of encounter, the biennale hopes to explore models of cultural exchange, setting up a soft, porous line between context and practice, form and medium, artist and system, institution and locality.

Some of the highlights of the program include Fassbinder’s restored movie Berlin Alexanderplatz which will be shown for the first time in Asia in its entirety, running for more than 13 hours, in Gwangju Cinema; Gordon Matta-Clark’s full-scale retrospective You are the Measure, which also travels to Asia for the first time; the street procession project Spring curated by Claire Tancons including samba drummers in the streets of Gwangju; the premier of the Johannesburg-based composer Joachim Schonfeldt’s new sculpture and composition; Hasaan Khan’s presenting an evening of continuous mixture of older and newer music works; and the launch of RADIO APARTMENT 22 by Abdellah Karroum ( http://www.radioapartment22.com ).

Okwui Enwezor, the artistic director of the 7th Gwangju Biennale has pointed out that: “2008 marks the year in which no less than ten biennials and triennials are set to open in September in the Asia-Pacific region alone. Anchored by the 2008 Beijing Olympics, the convergence of these events and the various national and regional agendas – cultural, economic, political – that define them, exemplify both the magnitude of the changes taking place in Asia, but also the scale and ambition within which they are occurring. Such scale and ambition, and the confidence with which they are pursued have led to the idea of this moment possibly being the Asian century.”

The exhibition and the accompanying programs also reflect Gwangju Biennale’s global commitment to various forms of cultural production. The Global Institute, held in collaboration with the Korean National University of Arts, Seoul; Chonnam National University, Gwangju; the San Francisco Art Institute; and the Royal College of Art, London, consists of the programs Open Studio and Arenas and Systems, organized into a series of workshops and clinics beginning in mid-August. Also, a series of plenary sessions based in Seoul and Beijing, China, collectively entitled Formations of Global Society and Domains of Public Culture will be held this fall, formulated around three broad themes: civil society as a form of coalition building; civil society as a platform of the global multitude; and civil society in relation to nihilism. Furthermore, a symposium and an associated two day seminar entitled The Politics of Spectacle and the Global Exhibition will run over a period of four days, f
rom September 24 to September 27, in response to changes shaping the distribution of global culture.

The 7th Gwangju Biennale will take place in different venues of the city of Gwangju, including the Biennale Hall, the Gwangju Museum of Art, the Uijae Museum of Korean Art, the Cinema Gwangju, and the Daein Traditional Market.

For detailed information on the biennale and the programs please visit the website: http://www.gb.or.kr

For press information please contact:

Jin-Kyung Jeong
PR & Business Department, The Gwangju Biennale Foundation
Biennale 2-gil Buk-gu Gwangju, South Korea
Tel +82 62 608 4264 / Fax +82 62 608 4269
1212jjk@gb.or.kr

Fundación Telefónica

The Eleventh International Art and Artificial Life Competition VIDA 11.0
Now Accepting Entries
From 15 June to 6 October 2008

http://www.fundacion.telefonica.com/vida

The Eleventh International Art and Artificial Life Competition VIDA 11.0 Now Accepting Entries

• The purpose of the competition is to award prizes to electronic works of art created with artificial life technologies

• Projects will be accepted from 15 June to 6 October 2008

• For this edition of VIDA 11.0, the prize money has doubled to 80,000 Euros

• The competition rules and all the information on previous editions can be viewed on the Vida Internet website http://www.fundacion.telefonica.com/vida

One of Telefónica Foundation’s main objectives is to promote the relationship between art and the new technologies. As a part of this goal, Telefónica Foundation is announcing the eleventh edition of the international VIDA competition to recognize artistic excellence in the field of artificial life and related disciplines.

The competition is open to art projects that explore the interaction between “synthetic” life and “organic” life as a reflection of the field of artificial life. 572 artists from 32 countries have participated in the ten previous editions and prizes have been awarded to more than 100 projects which included robots, electronic avatars, chaotic algorithms, cellular automats, computer viruses and virtual ecologies.

VIDA 11.0 will award a total of 80,000 euros to winning projects in two categories: one open to already-finished projects and another as an incentive for production in Ibero-America, Spain and Portugal. The winning works of art will be exhibited, as usual, at the Telefónica Foundation stand at ARCO.

The works of art submitted will be reviewed by an international panel made up by Mónica Bello Bugallo (Spain); Daniel Canogar (Spain); José Carlos Mariátegui (Peru); Sally Jane Norman (France-New Zealand); Simón Penny (United States-Australia) and Nell Tenhaaf (Canada). Terms and conditions of the competition, which is open to participants from all over the world, are available in Spanish, English, German, Portuguese, Korean and Chinese.

More information:

Entry Period: 15 June to 6 October 2008

Complete competition rules at http://www.fundacion.telefonica.com/vida

Kunsthalle Bern

Robert Gober, Untitled, 1979/2007, ink over linoleum block on paper,
14 x 18 inches, photo: D. James Dee, Copyright Robert Gober.

NO LEFTOVERS -
Kunsthalle Bern
Benefit Auction Preview
August 16th - September 10th 2008

Kunsthalle Bern
Helvetiaplatz 1
3005 Bern
Switzerland
Tel: +41 31 35 000 40
Fax: +41 31 35 000 41

http://www.kunsthalle-bern.ch

On the 13th of September 2008, Kunsthalle Bern will auction off works by a total of 72 artists who, in the course of their careers, participated in exhibitions at Kunsthalle Bern and defined crucial moments and tendencies in art history. The proceeds will be dedicated in full to Kunsthalle Bern’s ambitious programme for the coming years.

From the 16th of August until the 10th of September, the works will be on exhibition at Kunsthalle Bern under the title NO LEFTOVERS (the title is an artwork by Mexican artist Stefan Brüggemann). The exhibition features young international and Bernese artists like Pamela Rosenkranz, Ivan Grubanov, Roberto Cuoghi or Urs Zahn, as well as established locals such as Franz Gertsch and Balthasar Burkhard. Most of the artists, however, are prominent members of the international art scene, including Raymond Pettibon, Robert Gober, Candida Höfer, Thomas Struth, Julian Opie, Georg Baselitz, John M. Armleder and Luc Tuymans.

Throughout its history, Kunsthalle Bern has had the privilege as well as the audacity to exhibit works by an extraordinarily impressive range of artists. The Kunsthalle offered a platform to some of Switzerland’s most significant artists, from Ferdinand Hodler to Franz Gertsch, and it introduced internationally well-known artists like Edvard Munch, Jesus Rafael Soto, Luc Tuymans and Jutta Koether to a Swiss audience. However, Kunsthalle Bern was and is not only the home of various groundbreaking and bold shows or projects (from the first packaging of a public building by Christo over the seminal exhibition “When Attitudes Become Form” and the exhibition of Sol Lewitt’s wall paintings up to Allan Kaprow’s retrospective last year); it is also an institution which, under its various directors, has always striven relentlessly to offer artists a passionate commitment to their works, to challenge the visitors and at the same time provide them the best possible conditions for experi
encing contemporary art.

We are extremely grateful towards the artists that donated works, or in some cases even created new artworks especially for the auction, and their generosity has strengthened us in the conviction that the Kunsthalle needs to keep faith with the artists in the future.

Exhibition opening: 15th of August 2008, 6 pm at Kunsthalle Bern

Benefit auction: 13th of September 2008, 6 pm at Kunsthalle Bern

All the works on auction were collected by Kunsthalle Bern’s director Philippe Pirotte.
Auctioneer: Wolf von Weiler (President of the Verein Kunsthalle Bern)
Online catalogue: http://benefizauktion.kunsthalle-bern.ch/
The Kunsthalle Bern benefit auction takes place under the patronage of:
Ursula Andress (actress, Rome)
Rolf Bloch (entrepreneur, Berne)
Robert Frank (photographer, New York)
Donald Hess (entrepreneur and collector, Berne)
Thomas Koerfer (director and collector, Zurich)

Participating artists:

John M. Armleder, Carla Arocha/ Stéphane Schraenen, Knut Åsdam, Tonico Lemos Auad, Georg Baselitz, Pierre Bismuth, Mike Bouchet, Herbert Brandl, Stefan Brüggemann, Pavel Büchler, Balthasar Burkhard, Jean-Marc Bustamante, Pedro Cabrita Reis, Ernst Caramelle, Christo and Jeanne-Claude, Martin Creed, Roberto Cuoghi, Pascal Danz, Raoul de Keyser, Braco Dimitrijevic, Cecilia Edefalk, Maria Eichhorn, Armen Eloyan, Zhang Enli, Michel François, Robert Frank, Gaylen Gerber/ Michelle Grabner, Franz Gertsch, Robert Gober, Katharina Grosse , Ivan Grubanov, Aneta Grzeszykowska, Thomas Hirschhorn, Candida Höfer, David Hominal, Bethan Huws, Jutta Koether, Alois Lichtsteiner, Christian Marclay, Corey Mc Corkle, Chantal Michel, Jürg Moser, Julian Opie, Raymond Pettibon, Annaïk Pitteloud, Marjetica Potrč, Vaclav Pozarek, Markus Raetz, Arnulf Rainer, Michael S. Riedel, Ana Roldán, Pamela Rosenkranz, Ilona Ruegg, Christoph Rütimann, Gregor Schneider, Albrecht Schnider, Ross Sinclair,
Nedko Solakov, Yutaka Sone, Serge Spitzer, George Steinmann, Thomas Struth, Pascale Marthine Tayou, Luc Tuymans, Anne-Mie Van Kerckhoven, Lawrence Weiner, Uwe Wittwer, Christopher Wool, Urs Zahn, Otto Zitko, and Gregor Zivić.

Contact: Julia Strebelow j.strebelow@kunsthalle-bern.ch

Kunsthalle Bern
Helvetiaplatz 1
3005 Bern
Switzerland
Tel: +41 31 35 000 40
Fax: +41 31 35 000 41
http://www.kunsthalle-bern.ch

Ludwig Museum

Keith Haring: Untitled, 1982 Copyright.
Estate of Keith Haring

KEITH HARING
15 August - 16 November, 2008

Ludwig Museum –
Museum of Contemporary Art
PALACE OF ARTS
H-1095 Budapest,
Komor Marcell u. 1.
Phone (36 1) 555 3444
Fax: (36 1) 555 3458
info@lumu.hu

http://www.lumu.hu

KEITH HARING

Keith Haring, having died of AIDS at the age of 31, would be 50 years old in 2008. His anniversary is going to be celebrated with several exhibitions and events all over the world.

The Ludwig Museum – Museum of Contemporary Art in Budapest contributes to the celebration with a unique exhibition organized in co-operation with the Keith Haring Foundation in New York. It will be the first time that such a comprehensive overview on his oeuvre is exhibited in Hungary, which is fascinatingly rich and multifaceted, although it embraces merely a decade.

Haring’s characteristic figures, the ‘radiant baby’ and the ‘barking dog’ are well-known to millions of people. He developed this easily recognizable style (based on line) as a means of expression first in the New York Metro system by drawing on empty advertisement spaces. He was inspired by the work of graffiti artists and hip hop culture. Several other trends and artistic strategies also influenced his work, from Abstract Expressionism to Andy Warhol and Pop Art. Although he used various materials and surfaces – paper, waterproof canvas, huge mural surfaces, cars or even human bodies – he always created his paintings and drawings with a single light gesture, without making sketches or corrections.

For Haring, art’s most important task was communication. He wanted to reach as wide an audience as possible, which is why he promoted his works not only in museums and exhibitions, but on a variety of surfaces in various forms. Keith Haring’s art could be found on public spaces or on products he sold in his own shop - the Pop Shop. Although it was his intention to make his art accessible for the general public, toda, the price of his works sets records on the art market that are unaffordable to most.

In his works the criticism of American consumer society merges with elements of Christian iconography or symbols of civilizations outside Europe (or the Earth.) The inhabitants of this characteristic universe are cartoon figures, televisions, computers, dollar signs, pyramids and flying saucers; also included are his iconic people and dogs, angels and monsters. By means of his unique, complex system of symbols, he evokes the universal visions of violence and power, love and desire, and illness and death.

One of Keith Haring’s last works, the Altarpiece belongs to the Ludwig Museum’s collection. It is to be exhibited in a new context within the framework of this exhibition.

The Keith Haring Foundation’s mission is to protect the legacy of Keith Haring, his art, and his ideals. The Foundation also supports children’s charities and organizations involved in the fight against AIDS.

The exhibition will be displayed in the Ludwig Museum on 800 square meters, with 11 paintings and more than 80 graphics representing Keith Haring’s oeuvre between 1979-1989.

The exhibition is curated by Krisztina Szipőcs

Proa and MAM-SP

Marcel Duchamp: A work that is not a work “of art”

MAM – MUSEU DE ARTE MODERNA DE SÃO PAULO:
15 July - 21 September, 2008

FUNDACION PROA:
November 19, 2008 - February, 2009

Curator: Elena Filipovic

Organization: Fundación Proa
Coproduction: Fundación Proa and MAM-SP

http://www.proa.org
http://www.mam.org.br

Two years after an intensive investigation and production, Fundación Proa today shares with the MAM-SP the success obtained from the critics and public for the exhibition Marcel Duchamp: a work that is not a work “of art”, inaugurated in São Paulo last July 15, constituting the artist’s largest individual show in Latin America.

This is the first presentation of the exhibition, which will be shown in Buenos Aires starting November 22, when Proa inaugurates its new building. The last great retrospective of Duchamp was at the Tinguely Museum, Basel, in 2002, curated by Harald Szeemann; after this six year absence Fundación Proa undertakes the challenge of organizing a traveling exhibition, bringing the artist back to the international art scene.

The show at Proa is curated by Elena Filipovic and offers an extensive panorama of over 140 pieces that highlight Duchamp’s aspects as curator, designer, typographer, and promoter of culture, without excluding his revolutionary production. Through objects, works on paper, photographs, projections, and documentation, the exhibition underlines the production following the 1913 creation of the readymade – revolutionary step in the history of art that implied the rupture with the traditional concept of a work of art- until the last works by Duchamp, making its way through the most emblematic pieces of his production, among them La Mariée mise à nu par ses Célibataires, même, also known as The Large Glass and Boîte-en-valise, his miniature portable museum.

The exhibition is accompanied by a 360-page catalogue containing a careful and rigorous selection of images specially produced for each institution in its local language with the original version and English translation. It is composed of a selection of historic and foundational essays (Thierry de Duve, Octavio Paz, and Rosalind Krauss), which allow to see who Marcel Duchamp was and his importance in the context of art history, contributing to the debate new perspectives on different aspects of his production.

In parallel to the exhibition, Fundación Proa is organizing its first International Colloquium on Duchamp, coordinated by Paul B. Franklin, art critic and Editor in Chief of Étant donné Marcel Duchamp -magazine published annually by the Association pour l’Étude de Marcel Duchamp (Association for studies in Marcel Duchamp)-. For more information regarding the colloquium, please write: duchamp@proa.org

It will be a unique and unbeatable opportunity to interchange points of views and discuss in the Twenty-first century one of the great men that left their mark in the last century, with the presence of renown local and international researchers. The meeting will become a platform for debate and investigation on contemporary art and the influence of Duchamp’s work not only on the visual arts, but also on music, literature, cinema, theater, and other performatic arts.

D:Mes imagesimages pour ACCEA(2) brochure-vers.jpg

Arménian Center for Contemporary Experimental Art
08.08- 30.08.2008 “in vivo” Armén Rotch. /Curator: David Kareyan
adresse: 1/3 Pavstos Biuzand Blvd., Yerevan, Armenia
http://www.accea.info
http://armenrotch.blogspot.com/

Württembergischer
Kunstverein Stuttgart

Kevin Schmidt, Wild Signals, Video installation, 2007

Wild Signals
Artistic Positions between Symptom and Analysis
September 13 - November 9, 2008

Württembergischer
Kunstverein Stuttgart
Schlossplatz 2
D-70173 Stuttgart
info@wkv-stuttgart.de
http://www.wkv-stuttgart.de

Corinne May Botz
Sorel Cohen
Martin Dammann
Charles Gaines
Jana Gunstheimer
Susan Hiller
Joachim Koester
Joshua Mosley
Pablo Pijnappel
Tim Roda
Kevin Schmidt

From September 13 to November 9, 2008, the Württembergischer Kunstverein in Stuttgart is presenting the exhibition “Wild Signals. Artistic Positions between Symptom and Analysis.” The exhibition comprises works by eleven international artists who have appropriated scientific methods in different ways. Historical documents are subjected to a shifted reading. The instruments and discourses of criminology, psychoanalysis, ethnology, natural and parasciences are borrowed as much as questioned. With an attitude that is as critical as it is ironical, the artists confront that production of truth that seeks to master the unknown and the incomprehensible and that rests on the denial of its own fallacies.

Speculation and staging, as techniques intrinsic to scientific thought, its experiments and reasonings, receive special attention – not least because this is the point at which aesthetic and scientific practices intersect. For example, stage, photography and film have long been described as instruments of knowledge, that serve not to prove but rather to actually produce and stage knowledge.

“Wild Signals” presents artistic mis-en-scènes of knowledge – and non-knowledge – in which the performative aspect is manifest. Here, knowledge appears in an open resonant space in which fact and possibility, what may be interpreted and what may not, are mutually conditional.

The exhibition’s title refers to Kevin Schmidt’s video installation of the same name.

Corinne May Botz (*1977, USA), The Nutshell Studies of Unexplained Death, 2004
In her photographs, Corinne May Botz presents a collection of meticulously created crime scene models made by Frances Glessner Lee (USA) in the 1940s. Each of the doll’s house-like dioramas presents a composite of various unsolved criminal cases. They were designed on the basis of police reports, while the detailed furnishings of the various crime scenes were the product of Lee’s imagination.

Sorel Cohen (*1936, CND), Divans Dolorosa, 2008
Sorel Cohen’s series shows photographs that the artist took in the consultation rooms of fourteen different psychoanalysts from Quebec. The focus in each case is on the couch – the icon of Freud’s talking cure. Each deserted interior is assigned a concept from the field of psychoanalysis.

Martin Dammann (*1965, D), Soldier Studies, 2007
Martin Dammann’s works are based on an extensive collection of photographs from the two world wars. The “Soldier Studies” series focuses on German World War II soldiers involved in various “cross-dressing” scenarios.

Charles Gaines (*1944, USA), Night Crimes, 1997
Charles Gaines researched in the archives of the Los Angeles Times for crime scene
pictures and portraits of killers. In the four photomontages he assigns a criminal’s face to each scene of a crime, while in fact there is no connection between the two. The third
element he adds is a sky chart displaying the constellation at the exact time of the crime.

Jana Gunstheimer (*1974, D), Stammsitz, 2005
In her work – ensembles of black-and-white watercolors and objects – Jana Gunstheimer takes a critical, tongue-in-cheek look at the structures of scientific methods. Here, the construction and reconstruction of the research findings coincide. This also applies to the “Stammsitz” project, a work in progress that examines the Krupp dynasty and its domicile, the Villa Hügel in Essen.

Susan Hiller (*1942, UK), The Curiosities of Sigmund Freud, 2005
“The Curiosities of Sigmund Freud” is based on eight tiny microscope slides – micro-dots of collages of paintings and photographs –, possessed by the family of Sigmund Freud. Susan Hiller created magnified prints of them. The pictures are only shadowy and barely decipherable. A further find reveals a slip by the scientist.

Joachim Koester (*1962, USA), The Magic Mirror of John Dee, 2005
“The Magic Mirror of John Dee” is dedicated to one of the most important scientists of the seventeenth century and his occult practices. His attempts to communicate with the otherworld, in order to better understand the earthly, failed. The piece features one of the tools of his experiments: the surface of a black mirror.

Joshua Mosley (*1974, USA), dread, 2007
Inspired by Blaise Pascal’s “Pensées” and Jean-Jacques Rousseau’s “Emile”, Joshua Mosley drafts a fictitious dialogue between the two philosophers. The subject is the relationship between man and nature, the question as to whether things are there by themselves or created by god and are therefore good.

Pablo Pijnappel (*1979, NL), Felicitas, 2005
In his works, Pablo Pijnappel re/constructs the unusual paths through life of various family members. Based on the family archive and other historical visual documents, his narratives oscillate between the credible and the incredible, the mundane and the grotesque. The three-part slide projection “Felicitas” revolves around the story of Felicitas Baer, a friend of Pijnappel’s mother.

Tim Roda (*1977, USA)
Tim Roda’s black-and-white photographs are based on elaborate stage-like installations in which he interacts with his family. The opulent sets are furnished with numerous obscure, fantastic props made from everyday materials and remnants, that the actors use for their performance.

Kevin Schmidt (*1972, CND), Wild Signals, 2007
The video installation “Wild Signals” presents a stage rig that is both spectacular and spectral in the midst of unspoilt nature: as if it were about invoking the sublime, the incomprehensible, that does not, however, appear. The installation features the five-note melody that served to communicate with extraterrestrials in Steven Spielberg’s film “Close Encounters of the Third Kind”.

Württembergischer Kunstverein Stuttgart
Schlossplatz 2
D-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711 - 29 36 17
info@wkv-stuttgart.de
http://www.wkv-stuttgart.de