Wednesday, October 29, 2008


Philippe Zumstein (b. 1973) lives and works in Geneva. Zumstein has shown at institutions such as Musée des Beaux-Arts de la Chaux-de-Fonds, Musée des Beaux-Arts de Lausanne, CAN, Kunsthalle Palazzo.

The use of saturated and violent colors, overflowing paint and the deformation of matter are some of the elegant possibilities offered by the work of Philippe Zumstein as a means for breaking away from the canvas as an object. His first paintings, the 
Fat paintings, contained so much liquid paint beneath their surface that they seemed ready to explode at any moment. His more recent works, the Crash paintings, bear the stigmata of an accident. These works share a formal efficiency and a plastic refinement. 

The artist questions the age we live in through our intimidating fascination for the design object which we sometimes hesitate to handle. He does so by adding a fault to his objects that reveal their fragility. The destiny of the object, condemned to beauty, is here united with the individual's destiny. Below the object's smooth and perfect appearance a chaotic truth lies buried; we cannot disregard it for long. Indeed, everything is destined to vanish but, prior to the final crash, we must create the illusion that this is not so. Customizing our cell phones and cars is not unlike exercising with the goal of maintaining our bodies in shape. 

Mark Moore Gallery

Mark Moore Gallery is pleased to present new paintings from Belgian artist Cindy Wright. Wright's large-scale portraits and still-lifes embrace oppositions, the distance between which might be crossed in a few steps or might be too blurry to even define. Wright forces her viewer to scrutinize often-unconsidered yet vital minutia; skin, fat, ripples in fabric or internal organs. Yet her claustrophobic focus offers a false intimacy; in order for the images to remain recognizable, the viewer must remain at a distance; upon closer inspection the canvas pleasingly dissolves into a collection of abstract brushstrokes. Paradoxically, despite this painterly presence, her use of photographs as source material strips her works of any tenderness. They retain a detached and sterile quality, their function a clinical observation. Nevertheless Wright's work displays no awkwardness on behalf of these conundrums; rather her canvases are effortless displays of art historical awareness, their solemn beauty at once familiar and disquietingly innovative.

Museum of Contemporary Art Miami

Exhibitions at Museum of Contemporary Art, North Miami and MOCA at Goldman Warehouse during Art Basel Miami Beach

MOCA, North Miami
The first major museum exhibition by Albanian artist 
Anri Sala features seven films from the late 1990s to the present including a new film, Answer Me, along with photographs and sculptures that explore a dialogue about the interplay of the works with space and time. Co-organized by the Contemporary Arts Center (CAC), Cincinnati and Museum of Contemporary Art, North Miami, Sala's work is presented as one exhibition with two parts designed to resonate with each museum's respective space. 

The installation at MOCA, North Miami addresses the issue of rupture as Sala's films play on a timer. Sala creates an environment in which the visitor's focus is directed toward specific films that engage in dialogue with each other, with the space, and experience of the viewer. Sala includes several drums especially fabricated for the exhibition. Synched with particular films, the drumsticks respond to the low-frequency rhythm of the films' soundtracks, a furtive, yet direct connection between musical instruments and the sound component of a particular narrative. Lighting of the space and drums follow the same sequence Sala has developed for the screenings. As some films end, they completely disappear and different films in other areas of the museum begin. The orientation of the installation is constantly changing, causing viewers to reorient themselves within the space

Anri Sala: Purchase Not By Moonlight is sponsored by the John S. and James L. Knight Foundation and is part of the Museum of Contemporary Art's Knight Exhibition Series. Additional support provided by Starbucks Coffee Company and Monica Kalpakian.

The exhibition is sponsored by the John S. and James L. Knight Foundation and is part of MOCA's Knight Exhibition Series. Additional support provided by the Arts Council Singapore, Office for Contemporary Art Norway and IASPIS.

Au Revoir Simone

Au revoir Simone - Stay Golden


Cornelius - Eyes

B. Fleischmann

B. Fleischmann - Play The Big A

Interdisciplinary art festival

Hamburg is booming, say the city marketing agencies. Hamburg sucks, say a lot of artists. Into this crossfire of interests WIR NENNEN ES HAMBURG (We Call It Hamburg) crashes. The one side wants to draw more attention; the other doesn't want to allow itself to be used as a drawcard for spectacles. This debate is old and new at one and the same time. In the works this debate is not yet apparent. Meike Behm, Yilmaz Dziewior and Corinna Koch from the Kunstverein in Hamburg and Amelie Deuflhard, Nadine Jessen and András Siebold from Kampnagel have done interviews, listened, argued, and now it's being served: WIR NENNEN ES HAMBURG. From 11 October 2008 to 4 January 2009 you can make your own picture, or have it made, of the diversity of artists, choreographers, directors and musicians taking part in the festival. Of course there are still other artists to be discovered -- outside the festival. Our focus is on artistic positions that stand out because of their particul ar interest in interdisciplinary topics and ways of proceeding. On the whole, at WIR NENNEN ES HAMBURG it is not so much individual artists who stand in the foreground, as the attempt to provide insight into present-day cultural production in Hamburg by drawing on more than 250 positions. In doing so, tribute will also be paid to those artists who have played, or are playing, a significant role in the emergence and development of the Hamburg art scene. 

Participating artists: 

Jürgen Albrecht | Moritz Altmann | Monica Antezana | Atelier Goldstein | Nicolas Anatol Baginsky | Katrin Bahrs | Thomas Baldischwyler | Michael Baltzer | Michael Bauch | Arvil Baud | Suse Bauer | Claus Becker | Patrick Bebelaar Stefanie Becker | Achim Beitz | Rolf Bergmeier | Jenny Beyer | Jaakov Blumas | Andreas Bode | Claus Böhmler | Peter Boué | Boy Division | Verena Braun | Heike Breitenfeld | Mariola Brillowska | Thorsten Brinkmann | Antje Bromma | Dani Brown | Thorsten P. Bruch | Ina Bruchlos | Nele Budelmann | Arne Bunk | Boran Burchhardt | Tim Burchardt | Sebastian Burdach | Baldur Burwitz | Werner Büttner | Tatiana Calasans | Patric Catani | Armin Chodzinski | Kyung-Hwa Choi-Ahoi | Lukasz Chrobok | Martin Conrad | Michael Conrads | Stephen Craig | Charlotte Crome | Adelaida Cue Bär | Carola Deye | Die Strolche | Die Vögel | Goesta Diercks | Cordula Ditz | Michael Dörner | Drei Hamburger Frauen | Jürgen von Dückerhoff | Susanne Dupont | Henrik Eiben | Mel usine Eichhorn | Dörte Eißfeldt | Elbipolis Barockorchester | Julia Eltner | Reinhold Engberding | Titus Engel | Juri Englert | Klaus Erichsen | Ditterich von Euler-Donnersperg | Fanatically Feminist feat. Lady Bitch Ray | Patrick Farzar | Jeanne Faust | Maria Fisahn | Lili Fischer | Jochen Flinzer | Jens Foerster | Nadja Frank | Frank Spilker Group | F.S.K. | Beate Fuchs | Wolfgang Fütterer | Galerie C&V | Geelke Gaycken | Hartmut Gerbsch | Till Gerhard | Frank Gerritz | Monika Gintersdorfer | Lucia Glass | Sakir Gökcebag | Ari Goldmann | Dorothea Goldschmidt | Tatjana Sarah Greiner | Ole Grönwoldt | Hinrich Gross | Benita Grosser und Imanuel Grosser | Verena Grothe | Annette Grotkamp | Romeo Grünfelder | Almut Grypstra | Katharina Gschwendtner | Anna Gudjónsdóttir | Gudny Gudmundsdottir | Sun Guo | Esther Haase | Karin Haenlein | Ole Henrik Hagen | Christian Hahn | Hajusom! | Egbert Haneke | Daniel Hausig | Peter Heikenwälder | Nele Heitmeyer | Simone Henneken | HGich.T | Bianca Hobusch | Frenzy Höhne | Sylvia Hohlbaum | Annegret Homann | Henrik Hold | Manfred Holtfrerich | Jan Holtmann | Achim Hoops | Alexander Höpfner | Kathrin Horsch | Kimberly Horton | Florian Hüttner | Julia Hummer | Wil van Iersel | Adam Jankowski | Berndt Jasper | Joan As Police Woman | Anna Belle Jöns | K8 Hardy | Kabu Kabu | Volko Kamensky | Zvika Kantor | Naho Kawabe | Stefan Kern | Marte Kiessling | Akane Kimbara | Johnny King | Hector Kirschtal | Knut Klaaßen | Sibylle Klein | Henning Kles | Jan Köchermann | Jonas Kolenc | Kommando Himmelfahrt | Corinna Korth | Armin Krämer | Inge Krause | Frau Kraushaar | Michael Kress | Sylvi Kretzschmar | Klaus Kröger | Lutz Krüger | Martin Krützfeldt | Felix Kubin | Klaus Kumrow | Martin Kunze | Clemencia Labin | Volker Lang | Melody Laverne Bettencourt | Jeong Eun Lee | Jochen Lempert | Christina Lenschow | Uwe Lewitzky | LIGNA | Melissa Logan | Markus Lohmann | Maria Magdalena Ludewig | Frank Lüsing | Peter Lütje | André Lützen | Peter Lynen | Gosia Machon | Royston Maldoom ... 

Museum Morsbroich

Around 500 works in the exhibition including numerous works owned by the artist himself show how since 1989 Gerhard Richter has worked intensively on this body of work that is of great personal importance to him.

The majority of the overpainted photos are created by the artist pulling the photo through the wet paint on the spreading knife using a wiping movement. In this way, he can pick up large quantities of paint that, with a slight movement, lie like amorphous islands, sometimes millimetres thick, on the photographic paper and have the appearance of closed skin; conversely, with a stronger movement, the direction is at the same time visible as a pastose, directional colour gradient.

For his overpainted works, Richter generally uses standard reprints of photographs taken on trips, walks and in his private surroundings. The photos seem – not least because of the predominant format of 10 x 15 cm – as if they were taken from a family album and subsequently artistically processed.

The eye that, in the beginning, was focussed heavily on the photographic motif soon enters into a lively dialogue with the deep spaces, colour correspondences and basic form. "The public scenes, whether on the beach or the ski slope or children's theatre, are beset with sudden surges of colour that tend to resemble interventions of the sky or elemental forces, more than the moods of a decorative or ornamental painter annotation. Sometimes they seem like catastrophic visions. Blood-red snowflakes dance above the white firn. The photo shows skyscrapers in the urban morning sun – and the oil paint adds to the sulphurous fire that pours over the city from the sky – as described by Botho Strauß in the catalogue.

Helsinki Photography Festival 2009

Aletheia – Positions in Contemporary Photographies (January 23 - March 22), presented at Meilahti Art Museum, revisits and reexamines fundamental questions regarding photographic practices and the photographic medium – including the very possibility of a medium – and their roles and impact within contemporary culture.

Many concerns regarding photography were put on hold as the shift from silver-halide processes to digital technologies took place, with the then wide-spread estimation that the rules of the game had changed dramatically and that photography would no longer be able to lay any special claims regarding its relationship to the realities it would depict and represent. Yet, acknowledging that the digital shift is final, conclusive and irreversible, it is surprisingly clear that the fundamentals of photography have not always been challenged in the ways imagined at the onslaught of the digital revolution. Photographic media continue to pursue or attempt mimetic persuasion and photography's descriptive or epistemological powers, even when aimed at the imaginary, remain decisive. Not to mention that we are still seduced, alarmed, enticed and moved by photographs. Furthermore, photographic practices insist in very particular yet changing concerns regarding the nature and representation of time, space and memory.

Peggy Guggenheim Collection

In this 60th anniversary year of Peggy Guggenheim's collection in Venice, her museum will host an exhibition dedicated to a major figure in Italian and international art of the mid 20th century: Carlo Cardazzo (1908-1963), a Venetian whose centenary is this year and who shared with Peggy Guggenheim his passion for contemporary art. Carlo Cardazzo. A New Vision for Art, curated by Luca Massimo Barbero, 1 November 2008 - 9 February 2009, is the first exhibition to be devoted exclusively to this enterprising, even volcanic figure: patron, publisher, collector, and dealer. Cardazzo, through the multiplicity of his activities, the originality of his way of navigating the art world and his methods of promoting it, reached a new public, in part through his galleries, and in part through novel cultural strategies.

MMK Museum für Moderne Kunst, Frankfurt am Main

"And I saw light in the form of a river blazing with radiance." This is Dante's description of what he perceived as he entered the tenth circle of heaven in paradise. Throughout history, light phenomena have been interpreted as religious visions. What for some is a spiritual accomplishment following hours of seclusion, is explained by others as a physiological reaction following a period of reduced stimulation of the sense of sight. 'Prisoner's cinema' is the term used to refer to the varicoloured play of light which prison inmates – but also pilots and long-distance truck drivers – have reported on. They see it when they gaze into a visually unmodulated and virtually unchanging environment for long stretches at a time. What they are actually experiencing is a phenomenon determined not by the outside world, but by the brain. This is how the brain reacts to an 'undersupply' of visual stimulae. 'Prisoner's cinema' is also presumed to be a scientific explanation for ap paritions.

Melvin Moti's 35mm film 
The Prisoner's Cinema (2008) forms the core of the solo exhibition When No Means On, which – on view at the MMK Zollamt until 18 January 2009 – presents a number of works never yet shown in Germany. Film is Moti's primary medium. Recently, however, he has begun showing his films in conjunction with works in other media. When No Means On continues this approach. Apart from two films, the exhibition includes photographs, a drawing, a text-based work and an installation in the public realm.

Thursday, October 23, 2008


Feist - Honey Honey

Tuesday, October 21, 2008

Museum of Contemporary Art Tokyo (MOT)

Brazil, a nation that absorbed a multitude of immigrants and forged a hybrid human culture, has captured the world’s attention. Perhaps most alluring is the art of Brazil, which celebrates life with vivid colors and dynamic organic and geometrical forms. Brazil is a society with no hierarchy of values, where everyone and everything is integrated, a society propelled from modern society by the energy to blend and transform in search of a different structure. This energy comes not from a dialectic process but from observation of life and the wisdom found there. In order to survive in the global chaos, the Brazilians have created an “alternative modernism” as a viable proposal for the 21st century.

Museum of Contemporary Art Tokyo (MOT) will introduce Brazil’s creative vitality through the works of 27 artists, fashion designers, and architects in an exhibition, 
When Lives Become Form. In the 1960s, an artistic movement arose in Brazil, “Tropicália,” which celebrated the “originality of the culture of people who live in the tropics.” Tropicália sought to escape the shadow of the West and create a uniquely Brazilian art culture. Its central figure, Hélio Oiticica, took inspiration from Brazilian favelas, “a product of fantastic improvisation in creating a ‘vital place’ for communicating not form so much as joy.” The Parangolés or wearable sculptures and pictures he created for samba dancers by combining colorful fabrics are perhaps symbolic of this. In the same period, Lina Bo Bardi fused modern architecture with local Brazilian conditions and reinterpreted architecture through her acute observation and understanding of the lives of local peop le. Bo Bardi can be considered the pioneer of programmed architecture.

Hirshhorn Museum and Sculpture Garden

The Hirshhorn Museum presents an exhibition featuring 39 important artworks from the late 1960s and early 1970s that were recently acquired from Count Giuseppe Panza di Biumo, one of the world's foremost collectors of American and European contemporary art. Composed of works by an international roster of 16 artists, this acquisition substantially strengthens the Hirshhorn's holdings of art from this period. "The Panza Collection" is organized by associate curator Evelyn Hankins, who has worked closely with Dr. Panza on the design and installation of the exhibition, which is on view Oct. 23 through Jan. 11. Presented concurrently in several galleries adjacent to the exhibition is the second installment of the museum's ongoing series "Ways of Seeing," which was curated by Dr. Panza and his wife, Giovanna.

"The Panza Collection" features paintings, sculptures, installation art, wall drawings and a film that, as a group, demonstrate the critical premises driving international Conceptual, Light and Space, Minimal, and Environmental art. At the time these works were created, many artists had begun to reject traditional media and aesthetic concerns. Instead, they redefined art in a much broader manner, from conceptual works that favored ideas over the creation of unique objects to large-scale environments that challenged prevalent notions about the boundaries between an artwork and the surrounding architecture.

Monday, October 20, 2008

Vampire Weekend

VAMPIRE WEEKEND - The Kids don't stand a chance


Metronomy - Radio Ladio

The Books

The Books - Smells Like Content

Milton Keynes Gallery

Gilberto Zorio belongs to a generation of Italian artists who in the mid 1960s pioneered a radical and distinguished artistic movement which later became known as Arte Povera. Through the use of often modest and humble materials, these artists posed profound questions about the very nature of human existence.

This will be Zorio's first solo exhibition in the UK and will include new installations made specifically for Milton Keynes Gallery's spaces combined with works that trace the historical points of his practice. A large star made from a tower of bricks will fill the central gallery; Zorio regularly constructs such stars, each one is unique to the space in which it is sited. To the viewer the construction of the star only reveals itself as they navigate the towering elevations. Inside these structures is a 'secret place' – the viewer can peer through gaps in the bricks to a space filled with flickering light and florescent phosphorus spatterings. Historical work will include 
Pelli con resistenza (1968) which Zorio regards as his first artwork, Cerchio di Terracotta (1969), Fluidità radicale (1970) and Stella di giavellotti (1974).

Energy, through the use of elemental forces, is essential to Zorio's work and is addressed in many ways, from the near invisibility of oxidisation and its effect on copper to the ferocious heat of metal welding. Zorio's use of different metals such as lead, copper and steel connects his work to a lineage of historical and primordial forms of creative expression. 
"Metalworking is something that is profoundly related to the history of art and to human history. Copper is a conductor – it is the metal of Venus – Iron is strength and is the metal of Mars". (Gilberto Zorio)

Asian Contemporary Art Fair New York

One of the most important exhibitions of contemporary Asian art, the 2nd annual Asian Contemporary Art Fair New York (ACAF NY), will be held from November 6-10, 2008, at Pier 92, 52nd Street and 12th Avenue, in New York City. An opening night preview will be held on the evening of November 6. More than 60 international galleries and non-profit organizations will show a wide range of contemporary work by artists from countries including China, Japan, Korea, India, Bangladesh, Philippines, Singapore and Vietnam. Much of the work, including paintings, sculpture, photography, works on paper, video, and installations, will be on view for the first time in the U.S. 

Asian Contemporary Art Fair New York is the only international art fair in New York dedicated exclusively to Asian contemporary art. Last year's inaugural fair was hailed as a major success, providing collectors with an unusual opportunity to gain an overview of Asian art and see work by emerging artists, as well as internationally-recognized names such as Zhang Xiaogang, Nam June Paik, Yue Minjun and Yayoi Kusama.


This year, PINTA's unique Museum Acquisition Program will make contributions to a main group of institutions in order to help them expand their collections of Latin American art. The invited museums include: Harvard Art Museum, El Museo del Barrio, New York, Museum of Fine Arts, Houston, The Museum of Modern Art (MOMA), The Tate Modern, London, The Jack S. Blanton Museum of Art, Austin, Museo de Arte Latinoamericano de Buenos Aires (MALBA) and Museo de Arte de Lima (MALI).

PINTA 2008 will honor Peruvian artist Fernando Bryce. Bryce and art historian Miriam Basilio will officially start the PINTA festivities by participating in a conversation about authorship, historical legitimacy and the contradictions of modernity as a universal discourse on November 12 at 6:30 P.M. at the Americas Society (680 Park Avenue.)

Institut d'art contemporain

Differing from the sculpture of the past decade with its mainly post-ready-made techniques or assemblies of recovered materials, this new 'extended sculpture' simultaneously forms set-up, installation and architecture and uses space as the actual material for sculpture.

Fabricateurs d'espaces groups eight internationally reputed artists. The works shown are recent or made for the occasion. Sculptors of space or 'spacers', these artists use a vocabulary of forms derived from minimal art or land art. 

The many meanings of space are explored - space generated by the body of the spectator, architectural space, mental and imaginary space, cosmic space, etc. Space is probed, constrained, gone beyond and reinvented.

These artists use the actual gestures of sculpture to make space interact with the material nature of their works, works that paradoxically generate the immaterial.

Wednesday, October 15, 2008

Shout Out Louds

Shout Out Louds - Impossible

Cansei de Ser Sexy

Cansei de Ser Sexy - Move


M83 - Kim and Jessie


Goldfrapp - A&E


Soulwax - E-talking

Kanye West

Kanye West - Good Morning

Sunday, October 12, 2008

Le Laboratoire

Le Laboratoire is pleased to present, for the first time in Europe, a personal exhibition of the Japanese artist Ryoji Ikeda, a major figure of the sound and visual electronic scene. From his correspondence with the American mathematician Benedict Gross, he has conceived a work where the definition of the sublime blends with the immateriality of infinity. Welcome to a world of millimeter precision.

"As an artist/composer, my intention is always polarized by concepts of "the beautiful and the sublime". To me, beauty is crystal; rationality, precision, simplicity, elegance, delicacy. The sublime is infinity; infinitesimal, immensity, indescribable, ineffable. The purest beauty is the world of mathematics. Its perfect assemblage amongst numbers, magnitudes and forms persist despite us. The aesthetic experience of the sublime in mathematics is awe-inspiring. It is similar to the experience we have when we confront the vast magnitude of the universe, which always leaves us openmouthed. The aim of this project is to engage in dialogue with the mathematician Benedict Gross and other number theorists to find a common language on aesthetics." Ryoji Ikeda

Girls' Club

Girls' Club's second annual exhibition, Under the Influence, explores the phenomenon of cross-pollination that occurs at every level of arts production today. The work on view is selected from the Girls' Club collection of works by contemporary women artists and from other artists and other art collections. The presentation of this exhibition is a collaborative endeavor, co-presented by the Art & Culture Center in Hollywood, Florida. Both organizations are dedicated to enriching the arts community in Broward County, South Florida with cutting edge shows. 

Under the Influence demonstrates the multi-faceted roles artists play in the contemporary art scene. Artists as curators exert a powerful influence on posterity, re-shaping the context in which artwork is seen and understood. The three curators/artists organizing the exhibition play multiple roles in the arts community, and their individual aesthetic and conceptual leanings will be felt. Under the Influence is assembled by a curatorial team of three artists - collector and Girls' Club founder Francie Bishop Good, Girls' Club Director and arts writer Michelle Weinberg, and Curator of Exhibitions at Art & Culture Center of Hollywood and art consultant Jane Hart. 

Thursday, October 9, 2008

Daimler Contemporary


Under the name 
FORWARDS 08 the Daimler Art Collection is linking together three international awards for contemporary art. Along with the German-Japanese exchange program Art Scope and the Mercedes-Benz Award for South African Art and Culture, this year's event in Haus Huth in Berlin also sees the presentation of the Emerging Artist Award given in conjunction with Daimler Financial Services.

FORWARDS 08 brings Daimler AG's international and sustained promotion of young artists together for the first time in one exhibition: Daimler Japan launched the Art Scope Award in the early 1990s. A quick glance at the list of award winners to date shows that it was made to talented young artists who have gone on to represent key aspects of contemporary art in Japan. The Mercedes-Benz Award for South African Art and Culture was initiated in 1999. This award, given each year since in a different specialist area such as painting, sculpture, dance, poetry, music, photography and choreography, is recognized as the most significant cultural award in South Africa. The Emerging Artist Award, presented in 2008 for the fourth time by Daimler Financial Services 2008, is now part of a global network working to foster and promote contemporary art and culture.

Paris Photo 2008

Paris Photo 2008: an exceptional panorama of Japanese photography
From November 12th to 16th 2008, Paris Photo will bring together at the Carrousel du Louvre, 107 exhibitors from 19 countries. 
With 78% of participants from abroad and 37 newcomers, the selection for 2008 has favoured a greater focus on personal exhibitions and thematic projects, presenting the best photographic expressions from the earliest time to the present day. But one of the important aspects of this 12th edition is the invitation of Japan as country of honour: with the work by more than 130 artists on show, Paris Photo will offer an exceptional overview of a unique site of practice, from the Meiji era to the most contemporary production. To date, no exhibition in Europe has broadly brought together such a number of Japan's modern, contemporary and emerging photographers.

Wednesday, October 8, 2008

El Perro Del Mar

El Perro Del Mar - Party

Lykke Li ft. El Perro Del Mar

Lykke Li ft. El Perro Del Mar - After Laughter Come Tears

Whitest Boy Alive

Whitest Boy Alive - Golden Cage

New Young Pony Club

New Young Pony Club - Get Lucky

Yeah Yeah Yeahs

Yeah Yeah Yeahs - Turn In To

The Presets

The Presets - My People

SCOPE London

Building on the success of its international art fair program, SCOPE Art Fair is pleased to announce the return of its fourth SCOPE London art fair, October 16-19, 2008. Conveniently located in Lord's Cricket Ground, SCOPE London is situated directly across from Regents Park, within walking distance of Frieze. SCOPE London's 50 international exhibitors will offer visitors an unparalleled survey of the emerging contemporary art world alongside special events and museum-quality programming. 

SCOPE Art Fair is recognized for presenting cutting edge contemporary art featuring emerging dealers, curators and artists from around the world. For over six years we have been presenting SCOPE to new audiences internationally making it the most comprehensive destination for the emerging art world with fairs in Miami, Basel, New York, London and the Hamptons.

AC[Institute Direct Unlimited Chapel]

Unearthed uses a relatively simple device –a human skeleton on the floor of the gallery- in order to instigate a much wider series of responses and relationships and life. The object is a departure point. Unearthed re-examines the strategy of presenting an object inside of textual concept. The object is an imperfect and flawed, but basic "life" model found in all art departments and medical schools. It is a plastic artifact. It is a model, 4th quality copy of our basic sculptural form, our hidden physical structure which is used as a device that mirrors or reflects the ultimate human condition. The key concerns of the project are the issues of the human condition, hidden structures in our lives and art, private and public worlds, and relationships with the larger institutional framework, trade and globalization, art and anthropology. 

We are looking for a forensic team(s) to help with this investigation. They will need to ask and present new questions. Material will be catalogued and displayed. Information that is contributed maybe visual, sound, video or text. Supposition and conjectures are needed and very welcome. Any and all investigative techniques, scientific to paranormal, will be considered and utilized

Walker Art Center

Tetsumi Kudo's room-size installation titled Philosophy of Impotence, a culmination of his early radical performances and installations, stunned the Tokyo art world in 1962 and came to be known as one of the most iconic works in postwar Japanese art history. Tetsumi Kudo: Garden of Metamorphosis, the late artist's first solo museum exhibition in the United States, premieres at the Walker Art Center on October 18, 2008. 

Organized by Walker visual arts curator Doryun Chong, in close collaboration with the artist's estate, the retrospective exhibition features more than 100 works of diverse media—objects, sculpture, installation, drawing, and painting—covering the entire trajectory of Kudo's productive career, from the late 1950s through the 1980s, drawn from important collections in Japan, Europe, and the United States. 
Tetsumi Kudo: Garden of Metamorphosis introduces the artist and his singular body of work to American audiences. 

Sunday, October 5, 2008

FRAC Bourgogne

For his first solo show in France, Stefan Brüggemann (born in 1975 in Mexico City) has brought together a selection of works which subversively upset the rules of the art game, in particular, here, those governing representation and its content.

Stefan Brüggemann’s proposition is as paradoxical as it is provocative, in the way he plays with artistic codes, the better to reduce them to nothing. Art history tumbles into oblivion in favour of the surface of images. For example, he uses typography, but in order to deny the artistical reference thereto, typography also making reference to communication methods. The nihilist posture comes across in an often seductive way, ensnaring the spectator in his/her own art culture.He describes his praxis as TWISTED CONCEPTUAL POP, an association that is nothing if not paradoxical. 
The exhibition is constructed in three areas. A small entrance room is painted all in black, with, on the floor, a pile of posters with white wording printed on a similarly black ground—references to minimal sculpture and political art which Stefan Brüggemann one more activates the better to underscore the uselessness of all political ambition in art, along with all content-related dimensions. 

Two rooms echo each other on either side. Five reversed mirrors, facing the wall, are shown in one room, and five sentences made with black adhesive lettering are written on the walls of the other room. The sentences are very representative of what he has been developing since the mid-1990s : to deny today’s norm of the "all-communicational", where everyone is summoned to explain, comment, and elucidate, until the cows come home. Stefan Brüggemann sets up a language of refusal, often negative postulates affirming void, absence and impossibility. The texts he has chosen here are provocative in what they proclaim.

Andy Warhol

"Before I was shot I always suspected I was watching TV instead of living life. Right when I was being shot, and ever since, I knew that I was watching television.' Andy Warhol, 1968

No artist living in the second half of the 20th century has made a deeper impression on popular culture than 
Andy Warhol (1928-1987). 40 years on from Warhol's first major exhibition in Europe, and his infamous shooting by Valerie Solanas, The Hayward presents a major exhibition that brings a fresh perspective to his work Andy Warhol: Other Voices, Other Rooms, 7 October 2008 – 18 January 2009

Visitors will be immersed in Warhol's way of thinking and working through the exciting multi-media installation which will transform the gallery. Paintings and prints of famous icons including Marilyn Monroe and Campbell's soup tins, will be shown alongside video, TV programmes, films, Polaroid photos, delicate drawings, album covers and wallpaper patterns. This vivid presentation reflects Warhol's egalitarian maxim, '
all is pretty'; with all media presented on the same level.

Calouste Gulbenkian

Thomas Weinberger's photographs surprise by the strange and surreal atmosphere they convey. Sharply defined, almost sculptural, they show industrial plants and urban landscapes devoid of any human traces. 

These spectral images are the result of a distinct technique that Thomas Weinberger uses for his work process. The German photographer takes two pictures of the same motif, a day shot and a night shot, and superimposes them subsequently in order to obtain the synthesis of two different lighting situations. This superimposition of natural light and artificial light questions our usual perception of the world and creates a fictional or imagined temporality.

In this alienated reality darkness becomes embedded in light, and conversely light in darkness. Any ephemeral, instantaneous element, any trace of human presence disappears. What remains are empty places appearing as relics of a past human civilization.

As a former architect, Thomas Weinberger puts this discipline into the centre of his work. He explores urban architecture and chooses buildings, bridges, tracks, harbours and industrial plants as motifs of his photographs. Through his process of synthetis and through the static composition of his photographs, Weinberger adorns these banal places with a luminous aura and creates an eerie, fascinating atmosphere.

Saturday, October 4, 2008

Wood Street Galleries

Wood Street Galleries, a project of The Pittsburgh Cultural Trust, presents the world premiere of new work by New York-based Austrian artist Kurt Hentschlager: ZEE[RANGE], October 3-December 31, 2008. In this exhibition, Hentschlager creates an immersive environment of sight and sound reflecting on the nature of human perception and the accelerated impact of new technologies on both individual and collective consciousness.

Trained as a fine artist, Hentschlager began to exhibit his work in 1983, building surreal machine-objects and then video, computer animation and sound works. Between 1992 and 2003 he worked collaboratively as a part of the duo Granular-Synthesis. Employing large-scale projected images and drone like sound-scapes, his performances confronted the viewer on both a physical and emotional level, overwhelming the audience with sensory stimulation. 

Dublin City Gallery

Fergus Martin's exhibition at Dublin City Gallery The Hugh Lane is drawn from his recent experiences of sight and seeing. A new body of work in painting and sculpture that is united by a sense of drama and raucous reflection. Yet their placement leaves the viewer in an unsettled state of calm.

Martin has called his paintings 'the carriers' of colour, but the colour is not restricted only to its structured composition. Mediated by the viewers gaze, it belongs to the entirety of the world as the eye sees it, and renders it accessible.

Born in Dublin in 1955, Fergus Martin works in a variety of media from two-dimensional work such as painting and photography to sculptural works, defining and questioning the relationship between central and peripheral, form and energy. He has exhibited widely with recent exhibitions at Internationale Kunst in der Südwestkurve, in Karlsruhe, Germany, and in C2, Crawford Municipal Gallery of Art, Cork

K21 Kunstsammlung

Lawrence Weiner (born 1942, South Bronx, New York) has been long recognized as a central figure among the founders and developers of Conceptual Art, whose origins reach back to the 1960s. The exhibition Lawrence Weiner: AS FAR AS THE EYE CAN SEE is the most important retrospective in many years to be devoted to this radical, complex, and epochal artist. Especially in recent years, Weiner has been regarded as one of the most influential and dynamic artists worldwide. He has defined art as "the relationship of human beings to objects and of objects to objects in relation to human beings," and this premise constitutes the core of all of his work to date. For Weiner, language is a material object - whereby the existence of the individual work is nonetheless independent of its material execution. His works address an unending diversity of physical and cultural phenomena, exploiting verbal figures, punctuation marks, and graphic elements as resources in order to transg ress conventional hierarchies and boundaries. Here are works that address matters both simple and complex, challenging viewers in both conceptual and political terms.

Friday, October 3, 2008

Nottingham Contemporary

Vito Acconci, Shaina Anand, Atelier Van Lieshout, Angela Bulloch, Chris Evans, Harun Farocki, Dan Graham, Group d'Information sur les Prisons, Mona Hatoum, Thomas Hirschhorn, Evan Holloway, Ashley Hunt, Elie Kagan, Multiplicity, Bruce Nauman, Tatiana Trouvé, Artur Zmijewski

Sixteen international artists become "inmates" in The Impossible Prison, an exhibition in an abandoned police station inspired by Michel Foucault's thoughts on power, control and surveillance.

The police station, which closed following the 1984 Miner's Strike, is part of the Galleries of Justice, a crime museum in Nottingham. Built into the cliff that runs through the city, it houses Her Majesty's Prison Service collection. With five subterranean floors of cells, courts and dungeons that date from 1375, it is a literal archaeology of punishment. Foucault described his own approach to history as 'archaeological'. 

The Impossible Prison is the final instalment of Histories of the Present, Nottingham Contemporary's year-long programme of exhibitions and events in historical sites in and around Nottingham before moving into their own new building next year. Foucault has been an underlying inspiration. With The Impossible Prison his influence becomes explicit.

Thursday, October 2, 2008

Alicia Keys y Jack White

 Alicia Keys Jack White - Another Way To Die 


A few months before the opening of Mexico's International Contemporary Art Fair, we would like to inform you about its organization and the main points of the ZONA MACO. MEXICO ARTE CONTEMPORANEOproject.

ZONA MACO. MEXICO ARTE CONTEMPORANEO, will take place at the Centro Banamex, Hall D in Mexico City, from the 22nd through the 26th of April 2009, organized by Cultura y Arte Contemporáneo Zeta S.A. De C.V., under the direction of Zélika García.

The Selection Committee for 2009 is:

Patricia Ortiz Monasterio & Jaime Riestra 
Daniel Roesler
Thomas Krinzinger
Silvia Ortiz & Inés López Quesada
Pablo León de la Barra

This year's fair will include 90 galleries from around the world, representing more than 800 artists in over 10 000 square meters of exhibition space. 

The Main Section will host galleries with more than five years of experience that meet the standards of quality as determined by the Selection Committee. Booths in this area afford a variety of dimensions: 40, 60, 80 or 120 square meters.

The New Proposals Section will host galleries with less than 5 years' experience, presenting emerging artists in booths measuring 20 square meters. 

The ublications Section will include more than 40 press and internet media outlets, both national and international. 

ZONA MACO SUR is a new section devoted to solo projects curated by Adriano Pedrosa.
The section will host 12-15 booths of 24m2 each with solo exhibitions
sponsored by galleries selected exclusively by invitation. The section will
privilege emerging and mid-career artists from the Southern Hemisphere,
particularly those who have not had significant exposure in the Mexican scene.

ZONA MACO MEXICO ARTE CONTEMPORANEO has gathered the five most important public relations and communications agencies in the country to elaborate media plans for the promotion of the fair. The selected agencies will work closely with the fair's organizers in order to coordinate an event of the utmost professionalism, with exceptional coverage and publicity.

Our Collector's Program, organized by Pablo del Val, will include a socio-cultural program with visits to private collections, museums in the city, as well as dinners and festivities with international museum representatives, curators and art professionals. Invitations will be tailored to each exhibitor's needs, and we have increased their number for this coming April.

We will keep you updated with relevant information and news such as the awards and activities that will take place at the fair, including the Tequila Centenario Award, events during the Sao Paolo Bienal and Art Basel Miami Beach, among other activities throughout the coming year.

You will find the 2009 application forms at our webpage,
The deadline for submission is October 31st, 2009. 

Philadelphia Museum of Art

Anita Sieff

The latest installment of the Live Cinema series at the Philadelphia Museum of Art presents the work of Italian artist and filmmaker Anita Sieff who in her films explores the complexities of human communication in lyrical and everyday scenarios. The exhibition Anita Sieff: Films focuses on her work in film and video since 1993. In these films contemporary urban settings provide the backdrop for a series of fragmented, and at times abstract dialogues, through which women and men explore the complex terrain of their interpersonal relationships. In films such as Public Love (2003) and Fashion Weather Forecast (2006), Sieff reveals the ways in which individual identities are constructed, beliefs debated, and emotions examined through these interactions.