Sunday, November 30, 2008

Centre of Contemporary Art, Torun

Founded in 2008, the Centre of Contemporary Art is the newest and the biggest (over 4,000 square metres of gallery space) institution solely dedicated to contemporary art in Poland. With its inter-media and interdisciplinary formula, a multi-format program and international cooperation, CoCA presents the most interesting facets of contemporary art and related discourse. Through exhibitions, artist talks, seminars, artist-in-residence, publications, education programs as well as establishing a permanent collection, CoCA has committed itself to supporting contemporary art in Poland.

Central to CoCA's activity is the concept of 'glocality', or putting a global perspective on regional phenomena, providing a jumping-off point for the development of identity of an institution founded far from the centre. CoCA's programme is largely focused on the analysis of diverse collecting-related phenomena at anthropological, social, psychological and artistic levels.

Krzysztof Zielinski Millennium School
14.11.2008 – 31.01.2009

Krzysztof Zielinski's photography exhibition 
Millennium School opened on 14 November. Carried out in the artist's old school, the project is a nostalgic trip through one's own memory, a journey "in search of lost time". A riot of colours, the dreamlike photographs of the deserted school transport the viewers, like the taste of Proust's madeleine, to the lost world of childhood. Zielinski takes pictures of places which have changed radically. Layers of gaudy oil paint on the school's walls hide a nostalgic truth about childhood and perfectly illustrate the complex historical processes that have been taking place in Central and Eastern Europe over the last decades. The artist's private history and the history of his generation – new migration generation – overlap.

Zielinski's previous projects (Hometown, Seens and Random Pleasures) were also carried out in the provinces. His photographs show what is familiar, ordinary, excluded from the realm of art, and yet strange. Although return seems impossible, the artist keeps coming back to his hometown, even though he once chose to leave it – for Prague, where he studied photography, and later for Berlin, where he lives.

The first of his projects, 
Hometown (2000-2003), was exhibited at the 26th São Paulo Biennial, the Prague Biennial and in the Zacheta Gallery in Warsaw. Photographic series inspired by the artist's hometown, Hometown, Seens and Random Pleasures, can be viewed in CoCA's virtual gallery 

Artists-in-Residence Programme

Artists and other art professionals can now apply for a stipend for 
Artist-in-Residence in Torun. The current residencies programme is concerned with spatial and sound environment of Torun. Its aim is to develop projects inspired by the cartography of the city. 

Send your application to CoCA, along with your contact information, your CV and the activity description. It is the most convenient for us and the environment if you apply via the Internet. No particular application form is required. 

BFI Southbank Gallery

Yes Snow Show consists of a selection of video works by Michael Snow made for gallery exhibition. There is no unifying theme but rather these distinct, individual pieces together reveal the continuing development of the artist's moving image practice in a digital age. 

Since Snow's first gallery film installation in 1965, his practice as a visual artist is closely linked to his work as a filmmaker, mutually influencing each other. At the BFI, Snow will present Solar Breath (Northern Caryatids), 2002 an unaltered video recording of a natural phenomena. The decision against using any post-shooting manipulation makes this work in the artist's own words 'pure solar breath magic'. In contrast SSHTOORRTY, 2005 another piece in the exhibition, is staged and acted. The film was divided into equal parts, superimposed one on top of the other, revealing unexpected, surprising effects. That / Cela / Dat, 1999 is a gallery installation work that continues the motifs and formal principles of Snow's 1982 film So Is This, but conceived to consciously use the gallery viewing situation as one of its conditions and subjects, whilst Sheeploop, 2000 is shown in the gallery as well as in different locations around BFI Southbank , allowing the context to influence the perception of the work.

Saturday, November 29, 2008


Among the works presented in the exhibition are Gestures (1999), Crossfire (2007), Mixed Reviews (1999 - 2001) and the centerpiece of the exhibition Video Quartet (2002), a large, four-screen projection featuring hundreds of clips from old Hollywood films, with actors and musicians making sound or playing instruments. An elaborate audio-visual collage, Video Quartet is a visually stunning and aurally complex work, which builds masterfully to a proper musical composition.

Christian Marclay explores the fusion of fine art and audio cultures, transforming sounds and music into visible, physical form, through performance, collage, sculpture, installation, photography and video. The outcome is a full sensory experience where the realms of image and sound are combined with a sharp pop-culture sensibility and the traditions of avant-garde artists such as John Cage, Laurie Anderson and the Fluxus group

Christian Marclay was born in California in 1955, raised in Switzerland and now lives in New York and London. His work has been featured in two Venice Biennales and in major exhibitions at the Tate, Pompidou and Guggenheim museums. As a musician and DJ, he has collaborated with groups as diverse as Sonic Youth and Kronos Quartet.

REPLAY was originally presented at the Cité de la musique (Paris) in 2007 and curated by Emma Lavigne.

Michael Kohn Gallery

Michael Kohn Gallery is pleased to announce this year's participation at Art Basel Miami Beach. Michael Kohn Gallery will be exhibiting previously unseen works by Beat artist Wallace Berman, rare assemblages by Bruce Conner, the provocative work by emerging artist, Rashid Johnson, and paintings by Christopher Wool and John McLaughlin.

Considered by many to be the father of the assemblage movement, Wallace Berman (1949-1976), an active member of the Beat community in Los Angeles and San Francisco, began work on his verifax collages in 1963. These rare verifaxes are a solid example of the artist's dedication to assemblage and showcase the many ways that Berman manipulated this medium to create different styles of collage. Similarly, Bruce Conner (1933-2008), who was part of Berman's milieu in the Beat community, began creating assemblages in the late '50s and early '60s. Conner created his assemblages from scraps salvaged from abandoned buildings, nylon stockings, doll parts, and other found materials. Bruce Conner, a prolific and widely varied artist, died in 2008, leaving behind a legacy of great art historical importance. 

Like Berman and Conner, Rashid Johnson (b. 1977)—an emerging artist who was born in Chicago and now lives and works in New York—combines and layers materials to create a culturally and racially coded body of work. Johnson deploys materials and textures that contrast sharply with one another: shea butter, wood, black soap, mirrors, wax, and steel. Rashid's works are currently in the Rubell Family Collection in Miami, the Whitney Museum of American Art in New York, the Kunstmuseum Magdeburg in Germany, and the Museum of Contemporary Art in Chicago

Thursday, November 27, 2008


Galerie Ernst Hilger

Galerie Ernst Hilger/hilger contemporary is proud to present Asgar/Gabriel at PULSE Miami 2008.

Daryoush Asgar and Elisabeth Gabriel's works tell of imagined anti-worlds morphed by the artist duo into painting.The scenery is mainly populated by androgynous models transported in poses that are full of pathos. Asgar/Gabriel address the theme of hedonist escapism, the kick of performing in a dramatic scenario of oneself, absurd imitation: a post-modern baroque mix of garish lifestyle culture in picturesque atmosphere. The artists elaborate and develop highly complex, heterogeneous pictorial composition. As a result, conceptual design and painterly execution are hooked up together in a dynamic tension of charged polarities. Asgar/Gabriel dissolve their protagonists in a painterly sfumato, lend them haughtiness and mystical aloofness. There is an obvious difference here to Photorealism which in the 1970s once more integrated the cooly detached viewpoint into painting: the painting as a mirror to the world. Daryoush Asgar and Elisabeth Gabriel are sceptical of this truth and authenticity, veil their images and lend them a painterly value of their own.

Further artists at PULSE Miami 08: Oliver Dorfer, John Gerrard, Anastasia Khoroshilova, Brian McKee, Julie Monaco, Angel Marcos, Ivan Moudov, Sara Rahbar, Michael Scoggins, Spencer Tunick.

We are very grateful to the following artists and galleries who have generously donated works:

Anothermountainman, Eric CHAN, Gaylord CHAN, CHAN Dany, CHEN Yu, Paul CHIANG, CHIU Ya-tsai, GUAN Wei, GUO Hongwei, Jackson HONG, HUANG Chih-yang, HUNG Tung-lu, JIANG Zhi, Atif KHAN, Hyena KIM, KIM Jongku, KIM Suyoung, Jaffa LAM Laam, LAM Tung-pang, Kesang LAMDARK, Robert LANGENEGGER, Dongi LEE, LEE Kit, LEUNG Chi-wo, LEUNG Kui-ting, Navin RAWANCHAIKUL, Isa LORENZO, Kumi MACHIDA, MIAO Xiaochun, Takashi MURAKAMI, Jina PARK, Hengki PUDJIANTO, Sohan QADRI, QIU Zhijie, Tanujaa RANE, REN Sihong, Zulkarnaini RUSTAM, Pinaree SANPITAK, SHI Guorui, Wilson SHIEH, SHUAI Mei, ZHU Hai, SONG Yongping, SUI Jianguo, Inga Svala THÓRSDÓTTIR, TSANG Kin-wah, WANG Chuan, WANG Yigang, WANG Yiguang, WANG Youshen, Wucius WONG, WU Jian'an, WU Shanzhuan, XU Bing, YAO Jui-Chung, YE Yongqing, YU Chen, YUM Joongho, Larry YUNG, ZHAN Wang, ZHANG Linhai, ZHANG Xiaogang, Zhu Hai

10 Chancery Lane Gallery, Alisan Fine Arts, Amelia Johnson Contemporary, Anna Ning Fine Art, Chambers Fine Art, Chemould Prescott Road, Christophe d'Orey, Eslite Gallery, Finale Art File, Frey Norris Gallery, Gagosian Gallery, Gallery 2, Gandhara-Art, Grotto Fine Art, Hanart TZ Gallery, Janet Nathanail, Kwai Fung Hin Art Gallery, ONE AND J. Gallery, Osage Gallery, Rossi & Rossi Ltd, Schoeni Art Gallery, Sherman Contemporary Art Foundation, Silverlens Gallery, Sin Sin Fine Art, Sundaram Tagore Galleries, Tang Contemporary Art Centre, Yiqingzhai Foundation

Swiss Institute

Delta of Pierre Vadi evokes visions of a lunar landscape where thin atmosphere has vitrified and warped. Rather than finding sedimentary deposits, one discovers the traces of construction: furled acrylic sheets, scattered stone screws, and circular saws of resin. The exhibition casts an anxiety onto all progression. It positions the viewer in a space where possible pasts and futures collide. 

Curated by Gianni Jetzer

SI programming is supported, in part, by funds from Pro Helvetia – the Swiss Arts Council and by public funds from the New York City Department of Cultural Affairs.

Sunday, November 23, 2008

Mariko Takahashi

Mariko Takahashis Fitness Video

Conner Contemporary Art

Conner Contemporary Art enthusiastically anticipates exhibiting at Pulse Miami 2008. 
We invite you to visit our booth to view works by gallery artists:

• LEO VILLAREAL – the latest dynamic, digital color LED sculptures 
• ERIK SANDBERG – new figural oil glaze paintings on panel
• GABRIEL DE LA MORA – color photographs from the new series: Ghosts
• BRANDON MORSE – video of playful, digitally-generated structures
• KENNY HUNTER – new sculpture + paintings

Recent work will also be on view by gallery artist Dean Kessmann. *gogo art projects artists Nathaniel Rogers, Sabeen Raja and Adam de Boer will present new small scale paintings.

We are also pleased to announce that Leo Villareal's large-scale LED sculpture 
Horizon(2) has been selected by Pulse Special Projects curator Claire Breukel for exhibition in the courtyard of Pulse Miami. 
Preview video available at:

Additionally, Leo Villareal will participate in the Financial Times/ CORE breakfast series "Investigating Art – the Changing Landscape" in conversation with Alexander Ross on Wednesday, December 3rd at 10am. The talk is moderated by Peter Aspden, chief art critic for the Financial Times. A podcast of the discussion will be available on the Conner Contemporary website in late December. RSVP essential. Contact the gallery or Pulse Fair for detail

49 Nord 6 Est - Frac Lorraine

ARTISTS / Tom Marioni, Jiro Nakayama, Dominika Skutnik, Didier Vermeiren
(Frac Lorraine collection).
And Lara Almarcegui, Edith Dekyndt, Ricardo Jacinto, Yoko Ono, Yazid Oulab, Lucien Pelen.

"Neither missiles nor rockets nor sputniks will render man the "conquistador" of space. Those means derive only from the phantom of today's scientists who still live in the romantic and sentimental spirit of the 19th century. Man (…) will be able to conquer space--truly his greatest desire--only after having realized the impregnation of space by his own sensibility."
Yves Klein, The Chelsea Hotel Manifesto, New York, 1961

- Cast a meter of ribbon into the air and capture its trajectory and its movement in mid-flight (Tom Marioni)
- Float an object in space (Edith Dekyndt)
- Compare the ratio of weight and volume of a given body and experience the effect of its density (Didier Vermeiren)
- Walk vertically up a wall (Trisha Brown)
- Let oneself tumble and analyze the fall (Yoko Ono)

These are just a few propositions, or experimental methods, that make it possible to test gravity, to extricate oneself from it, or to render weightlessness tangible…

The laws of attraction and gravity invisibly govern the movement of the world and the elements: the incessant ebb and flow of the tides, the revolution of the planets. The universe is thus defined by its equilibrium of opposing forces. These imperceptible phenomena determine and delimit our way of being in the world, our dislocations, and irrevocably bind us to the earth.

From the fantasies of flying or floating (as revealed by the sublimity and pathos of Gino de Dominicis' attempt to transform himself into a man-bird, or by Yves Klein's angelic leap suspended in mid-air), to the philosophies of religious or metaphysical transcendence, humanity has aspired to elevation and desired to be free from alienation of and subjugation to gravity… Including the contemporary demand for lightness, from "lite" food to our relations to others, passing through the domain of thought…

This physical and existential dialectic, which is in a permanent state of oscillation between height and willful falling, drives us to explore the limits of balance and these opposing forces.

Friday, November 21, 2008

Mori Art Museum

The Mori Art Museum is pleased to present it's 5th anniversary exhibition, "Chalo! India: A New Era of Indian Art," bringing together 27 artists / artist groups from cities throughout India such as Delhi, Mumbai, Bangalore, Vadodara. Contemporary art in India has been the focus of much international attention, and this exhibition examines all of its latest movements, including in painting, sculpture, photography, and installations. 

"Chalo!" means "Let's go!" in Hindi. The exhibition invites viewers to journey through the latest trends in India's art, constituting an unprecedented opportunity to gauge Indian society as it is today and to think about its future.

After the country gained independence in 1947, India's art exhibited an aesthetic influenced predominantly by Western modernism and a homegrown form of expression linked with the process of building a national identity. However, over the last 60 years the nation's art has gradually come to tackle potentially controversial topics - such as sexuality - and also to incorporate political and critical ideas. From the 1990s, developments such as globalization, the expansion of the art market, and the emergence of a younger generation of artists have realized adverse and dynamic art scene of the likes never before seen in the country.

"Chalo! India" examines the way that the Indian artists use their keen insights and increasingly free spirits to question the reality and age in which they live, taking their themes from familiar objects and ideas in daily life and society - often as though to transform them into a theater of life. The exhibition introduces over 100 works, predominantly new or recent, and features pop and colorful paintings filled with an urban awareness. There are also interactive works of media art, drawing on state-of-the-art technology that befits an IT giant, as well as sociological research projects using data and information about contemporary India, which can be described as a "thinking architecture." Divided into five sections; "Prologue: To journeys," "Creation and Destruction: Urban Landscape," Reflections: In-between Two Extremities," "Fertile Chaos," "Epilogue: Individuality and Collectivity / Memory Future," viewers experience extensive diversity of the works, and are drawn into a consideration of the many different facets making up contemporary Indian society, including its urbanization and new lifestyles, its dreams, its disparities and its contradictions, all of which are highlighted as the backdrops of these art works


Urban Reflections


Nina Fischer & Maroan el Sani (Germany), Dan Graham (USA), Sabine Hornig (Germany), Santu Mofokeng (South Africa), Rhona Warwick (Scotland)

Warped, fragmented and endlessly repeated. Responses to the urban experience have ranged from unbridled enthusiasm for these vibrant hubs of glittering prosperity to examinations of the psychological shadows of city living: alienation, anxiety, tension and fear. The current age of global cities is marked by new geographies and social relations moulded by advancing technologies and economic systems. How do contemporary artists respond to these conditions? Urban Reflections presents works by artists from across different generations and locations as they reflect literally and metaphorically on the theme of mirroring the city.

The development of industrialised modernity in the eighteenth and nineteenth centuries brought a fascination with new technologies, speed and progress. Population explosions resulted in new types of urban environments while advances in optics and chemistry gave birth to photography and film. Since then the lens and the city have been bound together in artists' imaginations as they attempt to represent, comment upon and re-imagine their everyday environments through documentary, avant-garde experimental approaches, photomontage and film.

Urban Reflections presents five different artistic positions which reveal the range of contemporary responses to the city. Drawing references from pop culture, urban studies, literature, and the documentary genre each artist seeks to explore a different facet of contemporary urban realities. A concern with the fragmentation of perception runs through the works: images are overlaid on top of one another, spaces and emotions are distorted. In these places there are no fixed horizon lines; boundaries between imagination and reality are blurred, everything reflects and nothing is truly transparent.

San Francisco Art Institute

For the last two years, San Diego–based architect Teddy Cruz and Mexico City–based artist Pedro Reyes have together been deliberating on, among a host of other interconnected matters, the relation between design strategy and social transformation in the age of globalization. Notably appearing in conversation in the pages of the November 2007 issue of Modern Painters, where they consider and actively invoke the power of nonrepresentational diagrammatic reasoning, Cruz and Reyes come together again, under the initiative of SFAI's Exhibitions and Public Programs, to repurpose their "micropolicies" for transfiguring the socio-urban topography as resolution procedures—in particular, for the variously imbricated, ground-level conflicts obtaining in postinvasion Iraq.

Working neither from within nor from outside "the system" (the latter being to them every bit as bourgeois as the former is to the self-styled subversive), Cruz and Reyes seek to engage the hands-on problematic of a war-torn or otherwise-blighted urban landscape in what they refer to, after Herbert Marcuse, as "the mouth of the cobra"—that is, to engage it with critical 
proximity rather than distance. For instance, in no way endorsing the prevailing just-war doctrines promulgated by certain members of the US and EU intelligentsia, Cruz and Reyes nevertheless embrace the unsought but de facto opportunities for understanding conflict, mediation, and facilitation that have been brought about by the situation in Iraq. As with their collaborative ruminations on the alternative design trajectories made available in and by the Tijuana–San Diego border area (conventionally taken, from the planning and architectural perspective, as a promiscuous sprawling muddle), their ref lections on how the war in Iraq was actually played out ("bottom up"), as opposed to how it was originally planned ("top down"), discover in the wake of calamity a palpable object lesson: conflict, and the dire wreckage of conflict, are, by their very nature, a base of operations for imaginative intervention and social and geopolitical negotiation—the kind of intervention and negotiation Cruz and Reyes have both explored and instantiated through their projects at SFAI.

Thursday, November 20, 2008

Museum of Contemporary Art Australia

The Museum of Contemporary Art Australia (MCA) presents a solo exhibition by the Sydney-based Malaysian artist Simryn Gill. Simryn Gill: Gathering features new works and selected pieces from the past four years.

Gill’s work conveys a deep interest in material culture and in the ways that meaning can transform and translate in different contexts, through her experiments with materials, forms and methods of working, such as collecting, reading, archiving, arranging, casting and photographing.

The exhibition, curated by Russell Storer, includes recent photographic works such as May 2006, a series of more than 800 images Gill took over a month of walks around her Sydney neighbourhood, andRun, which records her visit to the Indonesian island of Pulau Run, once a centre of the spice trade; the book-based installations Untitled and 32 Volumes; and Garland, a floor-based work comprising objects collected from beaches in Malaysia and Singapore over more than a decade. Also featured are two new works, My own private Angkor, a suite of photographs taken in Port Dickson, Malaysia, and Inside, bronze sculptures cast from drought cracks in rural Australia. 

Alongside these works, Gathering features a selection of books, sketches, collections and experimental pieces from the early 1990s to the present, offering an insight into Gill’s artistic processes and art-making as a way of active engagement with the world.

A book, co-published by the MCA and Walther König, will accompany the exhibition. This is the first major monograph to be produced on the artist’s work, and features a rich selection of images from the early 1990s to the present, as well as essays by Tate Modern curator Jessica Morgan, renowned anthropologist Michael Taussig, and exhibition curator Russell Storer. 

Born in Singapore in 1959, Simryn Gill lives in Sydney, Australia and Port Dickson, Malaysia. She has exhibited widely internationally, most recently at the Biennale of Sydney (2002 and 2008), documenta 12, Kassel (2007), and the Singapore Biennale (2006), as well as solo projects at the Tate Modern, London, the Centre for Contemporary Photography, Melbourne, and the Arthur M. Sackler Gallery, Washington DC (all 2006).


Wednesday | December 3 | 10am – 3pm
Thursday | December 4 | 10am – 6pm
Friday | December 5 | 10am – 6pm
Saturday | December 6 | 10am – 6pm
Sunday | December 7 | 10am – 5pm

No advance purchase necessary. Ticket purchase includes admission to GEISAI Miami.

PULSE Contemporary Art Fair is pleased to announce PULSE Miami 2008, which returns to Soho Studios in the Wynwood Art District to present its largest edition, with more than 100 national and international exhibitors. Taking place December 3-7, 2008, concurrent with Art Basel Miami Beach, PULSE will feature a range of new exhibitors, and its highest proportion of international exhibitors to date. PULSE’s critically acclaimed original programming will debut a series of panel discussions on the contemporary art market hosted by the Financial Times and CORE:, and host an expanded GEISAI Miami. 

Galleries exhibiting at PULSE Miami 2008 include first–time participants 
ARARIO GALLERY of New York, Beijing, Seoul, and Cheonan, Korea, SAKSHI GALLERY of Mumbai, GERING & LóPEZ GALLERY of New York, and Martin Asbæk Projects of Copenhagen, while Galeria Baró Cruz of São Paulo, bitforms gallery of New York, GALERIE ERNST HILGER/hilger contemporary of Vienna, Conner Contemporary Art of Washington DC, and Angles Gallery of Santa Monica, make their return to the Fair, along with many more. The IMPULSE section of PULSE will present 19 emerging galleries, 14 of which will be exhibiting with the Fair for the first time. Each year an artist of distinction exhibited in the IMPULSE section is chosen by the Selection Committee to receive the PULSE Prize, sponsored by The Financial Times. The Prize will be presented in an award ceremony by Helen Allen, Executive Director of PULSE, on Thursday, December 4, at 1:00pm. 

PULSE Miami 2008 will also present a series of special programs, installations and events, features that have defined its past editions. This year for the first time PULSE’s large-scale sculpture and installation program will be chosen by a curator. 
Claire Breukel, Executive Director of Miami’s Locust Projects, has selected several works including those by Leo Villareal, Jade Townsend and William Powhida andJustin Cooper. PULSE PLAY, a video lounge showcasing an international roster of emerging video artists, also returns for the third time. Cuban independent curator and critic, Magda Gonzalez-Mora, a founder of the Havana Biennale, will curate the program, which includes artists Isabel Rocamora, Ferheen Haq, Mariana Vassileva, Rodolfo Pereza, and Lazaro Saavedra

This year, PULSE has partnered with the Financial Times and CORE: to present a new series of CORE: conversations, daily panel discussions and breakfast talks on contemporary art. Topics include “The Contemporary Art Market Boom & Its Expansion Eastward,” a discussion on the rise of contemporary Asian art, and “Emerging Art Markets – Keeping Pace”. Participants include 
Leo Villareal, contemporary artist; Manon Slome, Assistant Curator, the Guggenheim Museum; Phillip Hoffman, Director, The Fine Art Fund; Priyanka Mathew, Director of Aicon Gallery New York; Mike Moses, of the Mei-Moses Fine Art Index, and other distinguished art world leaders

EVO Gallery

Jean-Michel Basquiat
Tilo Baumgärtel
Vija Celmins
Gregory Crewdson
Lucien Freud
Robert Graham
Jasper Johns
Jugnet + Clairet
Alex Katz
Sol LeWitt
David Maisel
Takashi Murakami
Julian Opie
Miguel Angel Rios
James Rosenquist
Gerry Snyder
Hiroshi Sugimoto
George Thiewes
Bernar Venet
Lisa Yuskavage

Blanton Museum of Art

Marcelo Pombo is one of the key figures to emerge from the 1990s art scene in Argentina. For the current WorkSpace, he presents six new paintings (2007–2008) that depict imaginary worlds. Around them he recreates a hotel lobby by introducing decorative ornaments and furniture into the museum's gallery. Pombo's skillful painting technique and his use of intense and saturated color result in works that posses sculptural and candy-like qualities, with projecting volumes and a sense of movement embedded in his abstract compositions. He uses acrylic paint to create visual collages that combine formal styles introduced by well-known visual artists—such as Cy Twombly or Fred Tomaselli—and ordinary decorative objects. His paintings allude to concepts of beauty and good taste, shedding light on the idea that both lie on the eye of the beholder. Pombo's recreation of an environment that resembles a hotel lobby breaks away from the seriousness of the common practices of white-wall museum displays. This exhibition makes a gentle but satirical comment on the kitsch ornaments and decoration of public spaces such as hotels and also on the increasing use of installations in contemporary art. 

Above all 
Ornaments in the Landscape, and the Museum as a Hotel Room invites the viewer to think about beauty. Defined in the dictionary as "the quality or aggregate of qualities in a person or thing that gives pleasure to the senses or pleasurably exalts the mind or spirit," beauty will always be defined by individual taste that is determined by personal context and the background of the viewer.

Monday, November 17, 2008

Museo Universitario Arte Contemporáneo – MUAC

After announcing the opening of the first major public museum to be built in Mexico City in 30 years, the UNAM extends an open invitation to visit its first cycle of exhibitions, and to celebrate the four-year process of constructing the idea, the building, and the collection. 

Conceived by newly appointed Curator, Guillermo Santamarina along with the MuAC team, the opening party begins at 6:30 PM, Wednesday November 26th, with an unusual array of instrumental pieces by emerging artists.

Recursos incontrolables y otros desplazamientos naturales
(Uncontrollable Resources and Other Natural Displacements):

A selection from the permanent collection.

Curated by Oliver Debroise, who was responsible for the acquisitions program until his untimely death, earlier this year, this exhibition is the first installation of the MuAC's permanent collection. According to Debroise, "The selection seeks, in this case, to underline the tensions and contradictions between artistic practice as a mechanical and 'unnatural' act that distorts the order of things with the purpose of revealing their foundations, and the constant references to nature including, of course, the temporal dimension of memory, the methods for understanding time, and communication systems." 

Artists. Mauricio Alejo, Francis Alÿs, Iñaki Bonillas, Calimocho Styles, Juan Francisco Elso, Mario García Torres, Isa Genzken, Thomas Glassford, Silvia Gruner, Jan Hendrix, Enrique Ježik, Yishai Jusidman, Gabriel Kuri, Marcos Kurtycz, Richard Long, Teresa Margolles, Erick Meyenberg, Robert Morris, Edgar Orlaineta, Damián Ortega, Mario Rangel Faz, Marta Palau, Pipliotti Rist, Vicente Rojo, Jaime Ruiz Otis, SEMEFO, Melanie Smith, Luis Miguel Suro, Pablo Vargas-Lugo.

El reino de Coloso. El lugar del asedio en la época de la imagen
(The Realm of Colossus or the Place of Siege in the Age of the Image)

This exhibition, curated by José Luis Barrios, considers the relationship between violence and technology in the 20th century, seeking to register the concept of terror in the aesthetics of warfare. By centering on the technologies of the gaze as defined by modernity and late modernity: photography, film and electronic art, the exhibition brings together a concise selection of iconographic material from international photojournalism, fragments of documentary films, and site-specific works by Rafael Lozano-Hemmer and Oscar Muñoz.

Cantos Cívicos: A NILC project in collaboration with Miguel Ventura 

This installation, originally produced by the artist in collaboration with Spanish curator Juan de Nieves for the Espai d'Art Contemporani de Castelló in Valencia, Spain, is a project that underscores the ironic parallels between human and animal societies, while unmasking the conflicts of territory and identity in our contemporary age. In this interdisciplinary installation, which includes a rat laboratory, NILC (the New Interterritorial Language Committee) operates in collaboration with scholars from the UNAM's departments of psychology, veterinary science and biology, and with the choirs of the UNAM's National School of Music.

Las líneas de la mano
(The Lines of the Hand) 

Curator Jimena Acosta brings together the work of artists from different regions that together provide a platform for the examination and investigation of the social, political and aesthetic complexities of contemporary experience. The artists --some using analytical and documentary forms, others adopting abstract or poetic approaches-- unveil the mechanisms of present-day capitalism while subverting the aesthetic canons related to contemporary artistic consumption. 

Artists. Fiona Banner, Bureau of Inverse Technology, Mircea Cantor, Máximo González, Mark Lombardi, Julie Mehretu, Moris, Bruce Nauman, Edgar Orlaineta, Diego Pérez, Aida Ruilova, Tom Sachs, Santiago Sierra.

Royal Academy of Arts

Conceived to react to the rich winter season of cold, dark bleakness, the second part of the season consists of three major elements: Sudden White (After London), Dark Materials and Burroughs Live.Collision Course will reveal an apocalyptic vision, including a tribute to the artistic legacy of William Burroughs, new work from the Frank Cohen Collection and artists' film and video. A new film work from artist Malcolm McLaren, Shallow, will be shown alongside Burroughs Live. The 21 'film portraits' that make up the work were inspired by Burroughs' Cut Up technique. 

Also launching during the season is 
Event Horizon, a dynamic programme of new commissions by major London-based artists. Performances, live music, film and installations will be featured alongside fashion art events and long weekends. Highlights of this 12-week programme include Georgina Starr, Bob and Roberta Smith, David Medalla, Spartacus Chetwynd and Marc Camille Chaimowicz. Event Horizon explores a trend in British contemporary art in which 'sculpture becomes event'. In an installation by temporarycontemporary a late-night bar is open, serving drinks, cocktails and light snacks.

Throughout the entire run of the season, work by artists Antony Micallef, Rémy Markowitsch and Maya Roos will be installed in the grand entrance hall of 6 Burlington Gardens and the surrounding ground floor galleries.


Offer & Exchange: Sites of Negotiation in Contemporary Art curated by Daniel McClean and Lisa Rosendahl is a series of site-specific commissions exploring the use of rules, instructions, contracts and performance in the contexts of contemporary art and the law. The project brings together individually commissioned art works appearing across a variety of exhibition sites over the next eighteen months, culminating in a publication which documents and contextualises the commissions (to be published by Ridinghouse, London in 2009). 

Artists using legal contracts as artistic frameworks – including Maria Eichhorn, Jonathan Monk, Santiago Sierra, Superflex and Carey Young – have been invited to respond to one of the following key categories of 'site' where art is made visible by being exhibited, publicized, sold or collected:

i. the commercial gallery
ii. the corporate collection
iii. the art magazine
iv. the public institution
v. the private collection
vi. the auction house
vii. the art fair

In this context, 'site' is approached as a set of relations governing processes of negotiation. Engaging with the legacies of Conceptual art and Institutional Critique, each resulting commission reflects upon the specific aesthetic, social, economic and legal relations that govern the production and dissemination of art in these different sites of mediation. 

The commissions use contracts and the specificity of legal language to express boundaries and construct frameworks for action, as well as to emphasize the existence of conflict, negotiation and value exchange within artistic production and consumption. In different ways, each commission articulates and appropriates the relationships between artist, artwork, viewer and exhibition site as a way of exploring the structures that condition them.

Saturday, November 15, 2008

The Art of David Macaulay

David Macaulay

Author and artist David Macaulay has demystified the workings and origins of everything from simple machines to elaborate architectural structures. A favorite with readers of all ages, this Caldecott Medal-winning artist is the subject of this exciting exhibition that takes an in-depth look at Macaulay's artistic process and extensive body of work, including The Way Things Work, Castle, Cathedral, City, Mill, Ship, and Mosque. The exhibition presents over 100 original works of art, studies, sketchbooks, book dummies, manuscripts and correspondence, artifacts (including hand-built ship models), and more.

Paris Photo 2008

Chinese artist Yao Lu was named winner of the 2008 BMW- Paris Photo Prize for contemporary photography at a gala awards ceremony on 13th of November at Paris Photo. The prize is worth 12,000 EUR (15,000 USD).

Born in 1967 in Beijing, the Chinese artist Yao Lu, represented by 798 Photo Gallery in Beijing, is the fifth winner of this major international award, after Czech artist Jitka Hanzlova in 2007, French artist Mathieu Bernard-Reymond in 2006, American artist Anthony Goicolea in 2005 and the Switzerland's Jules Spinatsch in 2004.

Launched in 2004 in support of contemporary photography, 
the BMW – Paris Photo Prize celebrates this year its fifth edition. This Prize, open to living art photographers represented by galleries participating in Paris Photo, has become an important landmark in the world of international photography. The theme for 2008 was "Never Stand Still" in relation with the new BMW 7 Series.

Twenty of the 55 artists whose work was submitted by participating galleries were short-listed by a jury of international experts presided by Nicolas Wertans, Chairman of BMW France. The jury then worked to select the winning artist. The short-listed works are exhibited during Paris Photo, enabling visitors to enjoy and appreciate some of the finest examples of contemporary art photography.

Yao Lu is an emerging Chinese artist and teacher at the photography of department of the Central Academy of Fine Arts in Beijing. His work has been shown in numerous festivals and collective exhibitions around China (Lianzhou International Photo Festival 2007, New China Occidentalism – China Contemporary Art in Beijing in 2006, Pingyao International Photography Festival in 2004). But his work has rarely been shown in the West, except at the Fotofest International Houston in 2008, and at the "Space and Transportation" exhibition in Graz, Austria, in 1997.


Frances Stark writes texts and poems. She also creates collages on paper and canvas. Frances Stark's artistic style is formed from the combination of text, word, writing and image, often taken from collected pictorial source material. The starting point for her way of working is the self-referential use of literary or visual templates, which she places for the most part ironically or metaphorically in relation to herself, that is to say her various (life) roles as artist, woman, mother, professor and member of an (art) community. The transformation of the templates culminates in an expressly personal language, which appears, both visually and contextually, to be extremely fragile. The contextual fragility can be undoubtedly traced to the fact that Frances Stark works in a very self-ironic way, making circumstances, such as indecisiveness, timidity, becoming something, transformation, stagnation or also being a self-impostor become the central focus of her work.

The new group of works created for Portikus is entitled 
The New Vision and shows different works relating partly to Francisco de Goya's series of prints Caprichos (Caprices) completed in 1798. The artist herself can also be seen in a squatting position beneath a poster bearing the title Pretty Ugly; the posture is taken from Goya's The Sleep of Reason Produces Monsters, (Plate 43 of The Caprices, 1797)—the exhibition Pretty Ugly, in which the artist participated herself, was a group show including well-known artists, whether dead or still alive, and celebrated in self-laudatory style the 'extravagance' of the art world. A further reference to Goya's Caprichos can be found immediately in several works: Caprice No. 26, entitled They Already have a Seat, shows two girls who are being ogled by men, standing there relatively unconcerned with their skirts pulled up to their necks wearing chairs on their heads. In addition to the title there is a comment by Goya along the lines of: "If conceited girls want to show they have a seat the best thing is for them to put it on their head." The pictorial motif can be precisely located in one of the works in the exhibition, but also the skirt motif and the material itself crop up again at different points. Parallels emerge in Goya's free, metaphorical but also ironic commentaries to Stark's use of language with reference to her own works. The fact that language referring directly to the picture—in contrast to earlier works—plays a subordinate role at the moment or perhaps indeed even an absent role, is exemplified by the work with the music stand, which shows two letters from acquainted artists. One letter contains a direct questioning of Stark's current way of working and challenges her to write more instead of appropriating the writings of others—the other letter is conversely a paean to the artist and visual power of her most recent works. Unable to elude this sandwiched position, Stark allows her own voice to speak out directly: the import and solidity of her personal development or the way one can turn setbacks into something new without necessarily compromising the whole, have become the current focus inherent in The New Vision.

Currier Museum of Art

Andy Warhol—one of the most influential American artists of the twentieth century—captured the likeness of some of the most visionary and powerful political leaders of the 20th century. Images of John F. Kennedy, Jimmy Carter, Ronald Reagan, Queen Elizabeth II, and Mao Zedong, among others will hang side-by-side when the Currier Museum of Art presents Andy Warhol: Pop Politics from September 27, 2008 through January 4, 2009. 

Pop Politics displays together for the first time more than sixty of Warhol's paintings, prints, drawings, and photographs of political figures. His portraits of American presidents and presidential candidates, queens, Communist dictators, and other political figures reveal intriguing, yet until now unexplored insights into Warhol's own celebrity status and political leanings. Warhol's images of these powerful personalities comment on the interrelationships between politics and celebrity culture in the late twentieth century—connections that remain ever present today. Timed to coincide with the 2008 presidential election, this exhibition offers a probing and entertaining look through the eyes of America's most famous Pop artist at the leaders who shaped the twentieth century. 

The exhibition highlights Warhol's fascination with America's "royal family"—the Kennedys—through his images of President John F. and Jackie Kennedy and Senators Robert and Edward Kennedy. Struck by the media coverage of President Kennedy's assassination, Warhol created a series of works based on news images of Jackie, both as glamorous First Lady and as grieving wife. Seven of these paintings will be shown alongside rare preparatory studies. The exhibition features a recent Currier acquisition: 
Flash – November 22, 1963. Produced five years after the assassination and exhibited now at the forty-fifth anniversary of the tragic event, this print portfolio includes eleven screenprints based on related news images including the book depository, Lee Harvey Oswald, and President Kennedy's campaign poster—making it the only work by Warhol to depict the President. It also reproduces the teletype text from the four days between the President's assassination and funeral , with the sheets bound like a book. Accompanied by archival materials and unique trial proofs related to this project, another major highlight is a one-of-a-kind, never-before exhibited screenprint of Senator Robert Kennedy that Warhol did not include in the final edition of the Flash portfolio. Also featured are excerpts from a 1965 reenactment of the assassination filmed in Warhol's New York City loft known as The Factory. These works are shown for the first time alongside Warhol's 1980 portraits of Senator Edward Kennedy.

Thursday, November 13, 2008

blauorange art prize 2008

Kitty Kraus uses materials and physical processes in her sculptures and installations in unexpected ways. She received the 2008 blauorange art prize awarded by the German Cooperative Banks (Volksbanken and Raiffeisenbanken). Her prizewinner's exhibition, curated by Bettina Klein, is on show at the Kunstverein Heilbronn through December 12, 2008.

At first glance, the two sculptures are nearly invisible in the large exhibition space. Only the sharp, rough edges of the glass shards indicate the contour of simple geometric designs in a precarious equilibrium. The upper glass surface bends under high stress up to its breaking point. In the second sculpture, the edges of a glass torso penetrate the wall while another slides down the torso in an exhausted posture. There is a counterweight to the glass sculptures in the room, an object fixed at eye level on the wall: the handle of an IKEA shopping cart, the inscription of which - slightly altered - offers a play on words.

The rectangular cuts of suit fabric in the second room, in various shades of black, in white cotton or greenish chequered tweed, lie on the floor in strictly regimented formation like socially encoded husks. A metallic, gleaming ensemble faces the soft materials: shoehorns made of chrome and brass, grotesque, tongue-like objects, are complemented by two Styrofoam helmets sliced off horizontally at the head's width.

"Kitty Kraus places abstract symbols in space, encrypted messages made of glass, metal, cloth or found objects, which nightmarishly cross and 'circumscribe' the field of the human condition," describes Veit Loers, chairman of the jury for the blauorange art prize, the work of this year's chosen artist. Kitty Kraus was born in Heidelberg in 1976. She lives and works in Berlin.

Baltimore Museum of Art

The Baltimore Museum of Art has organized the first comprehensive survey in the United States of Franz West, an internationally acclaimed Austrian artist whose singular vision has resulted in one of the most remarkable bodies of work produced since the 1960s. The exhibition includes 117 objects that reflect West's extraordinary innovations in sculpture, design, and on paper—ranging from early interactive works from the 1970s to an enormous brightly colored object created for this exhibition. 

Known for his intriguing sculptures, provocative collages, and giant outdoor installations, Franz West (b. 1947) has played a critical role in redefining the possibilities of sculpture as a social and environmental experience for the past three decades. His manipulation of found materials, papier-mâché, and furniture is unlike any other in appearance and application. Though fundamentally sculptural in its construction, his work veers towards the biomorphic and prosthetic, mines the intellectualism of Freud and Wittgenstein, and possesses a sly wit and awkward beauty that speaks with equal fluency to the aesthetics of painterly abstraction and trash art.

The exhibition is organized as a series of mini-installations that invite visitors to encounter and occasionally touch a range of objects beginning with a 25-foot tall aluminum sculpture titled The Ego and the Id (2008) making its debut in Baltimore. Subsequent rooms include cabinets and chairs that infuse the art environment with the culture of bars, cafés, and domestic life (1990s); a large room with papier-mâché groupings and free-standing sculptures; a space with beautiful but precarious-looking works (1980-1990s); and human-scaled plaster sculptures called Adaptives (1970s) tinged by the violet hue of West's floor lamps. Throughout the exhibition, groupings of the artist's collages show the often cheeky influence of comic books, pop culture, and advertising.

LETO Gallery

LETO Gallery is pleased to announce the opening of MARCIN LUKASIEWICZ "Medicine" exhibition on November 14, 2008.
This is his first solo show at Warsaw.

Life sentence...
The function of the artist is to provoke the recepient in his/ her contact with the artwork. Lukasiewicz communicates the knowledge he has already gained. From the very beginning in his art he's been thoroughly using the painting process. Yet he's done so in his own way. He is even able to make five large-format 'draft-paintings' daily only to register a new idea. He gets unpatient very fast if he has nothing to do. In consequence, his attitude has caused him to 'serve the sentence' he had accepted himself – painting.

The artist expresses himself in drawing, sculpture and photography. Yet he reaches the fullest expression in painting. His curiosity is focused on life in all its aspects, elite music projects and comic printouts. He uses a variety of formats and techniques: pencil, crayon, pen and ink drawing, watercolour and acrylic painting. His painting reveals a whole range of formal research, from 'classical', symmetrical compositions to transgression on light, perspective and composition principles or even their negation

Wednesday, November 12, 2008

Schirn Kunsthalle Frankfurt


René Magritte numbers not only among the most important, but also among the most popular twentieth-century artists. Often against the grain of the artistic tendencies of his time, the Belgian Surrealist painter developed a unique and unmistakable pictorial language. His work's continuing crucial influence on later generations of artists and his impact on today's visual culture are almost without par. Many of his enigmatic and equally hard-to-forget solutions have been reproduced in the millions and become famous icons far beyond the world of art.

However, a fascinating period of the artist's landmark oeuvre has remained nearly unknown: his so-called 
Période vache. In 1948, Magritte made a group of paintings and gouaches distinctly different from the rest of his work for his first solo exhibition in Paris. Relying on a new, fast and aggressive style of painting – and particularly inspired by popular sources such as caricatures and comics, but also interspersing his works with stylistic quotations from artists like James Ensor or Henri Matisse – Magritte, within only a few weeks, produced about thirty entirely uncharacteristic works that caused an outrage in Paris. The artist deliberately conceived the exhibition as a provocation of and an assault on the Parisian public. Painting in an unexpectedly crude, playful, and intentionally "bad" manner, he reflected his own work and painting in general. While only sporadically included in most retrospectives of Magritte's oeuvre, his works from the Période vache will be assembled in the exhibition at the Schirn outside France and Belgium for the first time. Especially against the background of the last thirty years' art, this concentrated presentation will shed new, surprising light on an extraordinary artist whose work is often mistakenly regarded as far too familiar and easy to grasp.

Animate Projects

Animate Projects presents its new commissioned films online.

AnimateTV 2008
Seven extraordinary films, commissioned in association with Channel 4 and Arts Council England.

Artists: Barnaby Barford, Suky Best, Stephen Irwin, Michael Aubtin Madadi, Emily Richardson, Tal Rosner, Christoph Steger.

Employing a broad range of techniques from rotoscope to timelapse and exploring a variety of themes, including the decline of the dawn chorus and the ambitions of an outsider artist, together they represent the freshest artistic talent from the UK.

The AnimateTV films are now available to watch at, along with in-depth video interviews with the artists, and essays by Karen Alexander, Roy Exley, Andrew Kötting, Jeremy Myerson, and Marketa Uhlirova.

OK Center for Contemporary Art

Where is the young art/scene in Austria now? Who are the most exciting representatives of the younger generation of artists? Are there new, interesting aesthetic approaches? Which traditions are being taken up again? Further developed? Evolving into something else? 

With the exhibition "Am Sprung" the OK Center for Contemporary Art in Linz Austria pursues these questions and presents 32 promising artists. None of them is older than 35, they come from all over Austria or live as citizens of other countries in Austria.

What they all have in common is that they have been proposed for this exhibition by renowned art experts familiar with the Austrian art scene. From over 45 recommendations Ok has selected the positions that correspond especially well with the experimental, installative and media-related orientation of the OK programming.

The OK thus kicks off the year 2009 when Linz is European Capitel of Culture by taking stock of the up-and-coming generation of artists in Austria.

artists: Maria ANWANDER, Anna ARTAKER, Ruben AUBRECHT, Catrin BOLT, COLLABOR.AT(Johanna Reiner, Johannes Hoffmann, Maria Calligaris, Tom Haberfellner), Eva EGERMANN & & Christina LINORTNER, Siegfried A.FRUHAUF, Nikolaus GANSTERER, Gregor GRAF, Björn KÄMMERER, Leopold KESSLER, Johanna KIRSCH, Constantin LUSER, MAHONY (Clemens LEUSCHER, Andreas DUSCHA, Stephan KOBATSCH, Jenny WOLKA), David RYCH, Pia SCHAUENBURG, Fabian SEIZ, Kamen STOYANOV, Misha STROIJ, Adrien TIRTIAUX, Lea TITZ, Johannes VOGL, WHITE CLUB (Johannes Kubin, Marianne Lang, Birgit Pleschberger, Gerald Schicker)

Anna Ning Fine Art

Anna Ning Fine Art is proud to present the first exhibition in Hong Kong of paintings by the Chinese artist Jing Kewen.

History and memory are like prisms. They do not give us a panoramic view of the real world. Rather, they allow the richness and polymorphism of experiences in the past to be reflected when viewed from different angles. Memory does not become art until it is translated into a proper artistic language. This process, however, requires considerable effort on the part of the artist. His personal effort is in fact one of reconstructing cultural memory. 

Included in this exhibition is a selection of oil paintings done by the Chinese artist Jing Kewen (b. 1965) between 1990 and 2008. Jing's artistic vocabulary often derives from old photographs, magazine illustrations and private photograph albums that he has found or exchanged at flea markets. In transforming memory to art, he depicts from an individual viewpoint the stylistic representation of cultural memories – the glories and dreams of "Red China" as preserved in his memory and imagination. 

His paintings are often depictions of simple, plain buildings, breezy and sunny weather, beautiful sunshine on grass, magnolia blossoms swaying in the wind, young men and women with glamorous faces, beams of sunlight highlighting their figures and clothes. In Jing's art, history and memory are presented as being pure, bright and poetical as they were once imagined. The artist is not trying to purify his memories; rather, he bearing witness to the collective memories of his generation. 

Monday, November 10, 2008

Marilyn Manson


Multi-talented artist Marilyn Manson, legendary for the cult status of his music career and persona, has simultaneously been creating a large and remarkable body of painting over the past two decades that will be revealed for the first time in the U.S. this December during Art Basel Miami. Just as Manson's lyrics are provocative, driving the expressive form of music to its limits, the artist's paintings, though aesthetically pleasing, play with the grotesque and confront the viewer with the dark side of the American Dream – its obsessions and pitfalls. This exhibition of more than twenty paintings is presented by the Cologne-based Galerie Brigitte Schenk in cooperation with 101 Exhibit, a dynamic new art space in Miami's design district. The show will remain on view through February 2009.

Trismegistus features Manson's paintings from the past eight years. Looking at the works, one enters the artist's deep, haunted world and his existential exploration of the human condition. The artist focuses on the more unpleasant and controversial sides of life – real and fictional – as conveyed through both subject matter and distorted notions of beauty. Parallels to the style and to the "sadomasochistic eroticism" of the German Expressionist painter Egon Schiele can hardly be overlooked, as David Galloway remarked in an article entitled "Gothic Revival" (ARTnews, 2007). He continued, "Manson's subjects are consistent with his bizarre and morbid image: disease, mutilation, addiction, homicide."

Sunday, November 9, 2008

Almost Ninja 
Almost Ninja
Almost Ninja 
Almost Ninja 
Almost Ninja 
Almost Ninja
Almost Ninja 
Almost Ninja 



Tilly & the Wall

Tilly & the Wall - Pot Kettle Black