Thursday, February 26, 2009

PULSE New York

Following PULSE's largest show to date in Miami 2008, described by critics as the City's new 'second' fair after Art Basel Miami Beach, PULSE New York returns to Pier 40 in Greenwich Village, March 5-8, 2009, concurrent with The Armory Show. The fourth New York edition of PULSE is the most diverse to date, presenting 101 exhibitors from 26 countries throughout the Americas, Europe, and Asia. Making their first appearance are leading international galleries ColletPark, Paris; Habana, Havana City; andSingapore Tyler Print Institute, Singapore, among others. They join blue-chip veteran PULSE exhibitors including Faurschou, Beijing and Copenhagen; Galerie Ernst Hilger/Hilger Contemporary, Vienna; Nina Menocal, Mexico City; and Perugi Artecontemporanea, Padua. 

"In just four years PULSE New York has emerged to become the City's largest art fair dedicated entirely to contemporary art" said 
Helen Allen, Executive Director of PULSE. "Pulse, bridges the gap between main and alternative fairs, and focuses on showcasing new works. As part of our commitment to innovation, this year we have expanded the cultural program to include video, performance, large scale installations, and a new series of informal talks given by artists and curators which will address many of the communication, socio-economic and gender issues confronting artists today." 

This year's unprecedented number of 18 large-scale sculptures and installations will be presented in public spaces throughout the Fair. As part of the expanded installation program, 
R. Luke DuBois will install outside the fair a series of 43 large-scale light boxes, which initially debuted at the Democratic National Convention in Denver, while the entrance corridor will consist of a 42-foot tunnel designed and executed by Julian Lwin entitled Babylon NY

PULSE PLAY, the video art lounge, returns with 
Random Rules, organized by Athens-based independent critic and curator Marina Fokidis. The program encompasses established and emerging artists including Andrea Angelidakis, Keren Cytter, Rodney Graham, Annika Larsson and Miltos Manetas in an exploration of the cultural phenomenon of YouTube. Meanwhile, PULSE PERFORMANCE features a performance by Miriam Cabessa curated by Maureen Sullivan, and Gary Carsley'sInstitute for Kontemporary Esthetic Arousal, which debuted at the 2008 Singapore Biennale. And returning is an exhibition of MFA students' works from Parsons The New School for Design curated byEva Diaz, Senior Curator at Art in General

Wednesday, February 25, 2009

Justin Beal


Mindy Shapero

Mindy Shapero’s work comes from a rich fantasy world or constructed mythology that has a significant basis in the literary. The titles of her works are often paragraphs long and can accompany the work in the form of self-published black and white zines that serve as a descriptive and informative textual component to the artwork. 
William Blake and Henry Darger share a commonality with Shapero in the invention and maintenance of complex theistic hierarchies and their supporting myths and histories rooted in their own writing, though with Shapero this carries over into an obsessive understanding of material that has a correspondence to the myth or fantasy world as if a form of alchemy understood only by herself. 
Mindy Shapero was Born in 1974 in Louisville, KY. She now lives and works in Los Angeles, CA.


Prototypes - Who's Gonna Sing?

sala rekalde

sala rekalde and If I Can't Dance, I Don't Want To Be Part Of Your Revolution presentEdition III – Masquerade. The second episode of this long-term project includes a presentation in the Abstract Cabinet of sala rekalde, on show until the 19th of April, and a programme of performances on the 12th and the 13th of March. 

Edition III - Masquerade is initiated and organised by the rolling curatorial platform If I Can't Dance, I Don't Want To Be Part Of Your Revolution. Departing from the explorations of Edition I – Theatricality (2005) and Edition II – Feminist Legacies and Potentials In Contemporary Art Practice (2006-2007), the current edition looks at how we behave in the 'common sense' of our time and how cultural conditions are inscribed in and on the body. By choosing the language of performing as constitutive of the self (rather than masking an essence), the project's aim is to effect a shift in the way we imagine ourselves.

Inspired by the notion of inclusiveness central to feminist endeavour, 
Edition III – Masquerade is a collaborative venture. The artists Keren Cytter, Jon Mikel Euba, Olivier Foulon, Suchan Kinoshita, Joachim Koester and Sarah Pierce are invited to produce ambitious new works over a period of two years. These developing works are staged and shared with the public at each of the various phases of their development at the partner-institutions. After the prologue at Overgaden(Copenhagen) and the first episode at de Appel arts centre (Amsterdam), the current, second episode takes place at Sala Rekalde (Bilbao). In spring, Project arts centre (Dublin) will account of the third episode, followed by the fourth and final episode in the Van Abbemuseum (Eindhoven) in the winter of 2009/2010.

The programme of performances includes different approaches to the live moment, the addressing of the audience and negotiating the notion of site. Jon Mikel Euba will work with students from the University of the Basque Country and other young artists from Bilbao on a ten-day lock-in experiment. Suchan Kinoshita will develop a performance for attending visitors that considers the performative nature of the art space. Keren Cytter will present a theatrical performance on changing roles and modes of sexual assignation. Sarah Pierce will research the potential and agency of a gathering, while Joachim Koester focuses on the gestures of the individual. Olivier Foulon will narrate a story of painting and the models and masks it produces. The exhibition in the Abstract Cabinet of 
sala rekalde will elaborate on each of these individual projects-in-development, including works in progress, documentation of previous stages, sources and related printed matter. 

Edition III – Masquerade is generously supported by the Mondriaan Foundation, the European Union (Culture Programme 2007-2013), the Netherlands Foundation for Visual Arts, Design and Architecture, SNS Reaalfonds, Amsterdams Fonds voor de Kunst, Prins Bernhard Cultuurfonds, Danish Arts Council and SEACEX, Sociedad Estatal para la Accion Cultural Exterior. 

Little Joy

Little Joy - Next Time Around

SCOPE New York

Building on SCOPE Miami's overwhelming success, SCOPE launches the 2009 season in New York for the eighth year with its flagship invitational fair, March 4-8. SCOPE New York 09, proudly returns to Manhattan's culturally iconic Lincoln Center at the corner of 62nd Street and 10th Avenue just blocks from the ArmoryShow and serviced daily by VIP cars, shuttles and pedicabs. 

SCOPE New York 09's 50 international exhibitors will uphold SCOPE's unique tradition of one-person and thematic group shows presented along side museum-quality programming, collector tours, screenings, and special events. SCOPE New York features galleries from four continents and 20 countries, including Austria, Canada, China, Costa Rica, Germany, Italy, Japan, Korea, the Netherlands, Philippines, Spain, Switzerland and the United Kingdom. SCOPE New York 2009 Exhibitor List

SCOPE Art Fair has evolved from an industry niche to an influential global contributor, with ongoing events, educational programs, and the SCOPE Foundation 501(c) 3. With total sales of nearly 100 million USD, over 250,000 visitors, and wide media attention including that of The New York Times, Vanity Fair, The Wall Street Journal, The Financial Times, Art in America, and ArtNet Magazine. Over the years SCOPE has helped build a flourishing collector base and remains a proud contributor to the ever expanding global market.

we are soldiers we have guns

we are soldiers we have guns - the line is a dot to you



Meredith Monk 
Ascension Variations 

Thursday, March 5, 6:30pm and 9pm
Meredith Monk radically transforms the spiraling galleries of the Guggenheim, adapting her recent 
Songs of Ascension to its unique geometry. Recalling and celebrating Juice, the historic 1969 work that the multi-disciplinary artist created for the Guggenheim, Monk will incorporate Juice performance elements intoAscension Variations.

Laurie Anderson 
Transitory Life: Some Stories 

Thursday, March 12 and Friday, March 13, 8pm
Set within the Guggenheim's intimate Frank Lloyd Wright-designed theatre and created by Anderson in response to 
The Third Mind, this new solo performance is a collection of adventure stories, poems and music reflecting a sensibility the artist attributes to her "practice of attention" and interest in Buddhism.

La Monte Young, Marian Zazeela, and The Just Alap Raga Ensemble perform Young's magnum opus Raga Sundara 
Saturdays, March 14 (SOLDOUT) and March 21, 9pm
The Just Alap Raga Ensemble, led by founding figures of minimalist music and light art La Monte Young and Marian Zazeela, will perform in 
Dream House, their continuous electronic sound environment in luminous fields of colored light. The performance features extended alap sections and sustained vocal and instrumental drones in just intonation over tamburas.

Jung Hee Choi performs RICE in the Dream House 
Saturday, March 28, 9pm
Young and Zazeela's disciple Jung Hee Choi will perform solo in a setting of her acclaimed video sound installation 

Merce Cunningham in conversation with Laura Kuhn 
Dancers on a Plane
Tuesday, March 31, 6:30pm
In a unique performance-conversation, Laura Kuhn speaks about John Cage's lifelong engagement with Zen Buddhism and how he used I Ching to embrace unforeseen possibilities. Joining Kuhn, the legendary Merce Cunningham discusses 
his use of chance and concludes the evening working with the digital software program, DanceForms, to create a short choreographic phrase.

yoko ono in conversation with Alexandra Munroe 
Passages for Light 

Thursday, April 2, 6:30pm
Artist, performer, and filmmaker Yoko Ono discusses her ideas on Asian art and thought with 
The Third Mind curator, Alexandra Munroe. Known for her Conceptual art contributions, the program will include an interactive event with the audience. 

Marina Abramović 
Night Sea Crossing, a lecture
Tuesday, April 7, 6:30pm
The celebrated performance artist Marina Abramović discusses the twenty-two 
Night Sea Crossingperformances (1981-87) created with her former collaborator, Ulay (Uwe Layesiepen) after the artists had returned from a long period in the Australian outback. Night Sea Crossing is among Abramović's earliest tableaux pieces that layers time, presence, and mindfulness into a collaborative moment for viewer and performer. 

Robert Wilson 
KOOL – Dancing in My Mind – World Premiere 
Presented by Works & Process at the Guggenheim
Friday, April 17 and Saturday, April 18, 7:30pm
Robert Wilson, with Carla Blank, creates a performance-portrait inspired by Suzushi Hanayagi with whom Wilson worked in 
The Knee Plays (1984) and recently sought out in Osaka where she has been living for years in a state of dementia. Archival and new material of Hanayagi by Richard Rutkowski is combined with recreated performance material and new choreography, serving as a poetic monument to a working friendship. Co-produced and co-commissioned by Works & Process; Guild Hall, East Hampton; and the Byrd Hoffman Watermill Foundation with support from the Jerome Robbins Foundation. 

Mareva Galanter

Maréva Galanter - On roule à 160

Dan Black

Dan Black - YOURS

Sunday, February 22, 2009

Stroom Den Haag

With 'Beton Belvedere', Stroom Den Haag presents the first solo exhibition in the Netherlands of the French artist Cyprien Gaillard. Intrigued by contemporary ruins and concerned by the rapid destruction of modernist architecture, Gaillard explores notions of state vandalism, gentrification and the picturesque. The exhibition is curated by Zoë Gray and is accompanied by an ambitious project in public space, titled 'Dunepark'. Gaillard's site-specific project is the excavation of a World War II bunker currently buried in a hill overlooking the beach of Scheveningen.

Beton Belvedere
Gaillard's exhibition at Stroom presents an overview of his work from the past few years, revealing his unique vision of our contemporary landscape. Included are two large photographs, 'View over Sighthill' and 'Chateau d'Oiron' (both 2008). Whilst seeming to depict two unrelated buildings – a tower block in Glasgow and a French 18th century chateau – these two pictures reveal an enduring fascination of the artist: the widespread demolition of modernist architecture across Europe and the cultural amnesia that he believes this demolition will cause. Also presented at Stroom are Gaillard's etchings 'Belief in the Age of Disbelief' (2005), in which iconic Modernist towers are inserted into the rural landscapes of 17th century Holland. As a counterpart to Gaillard's work, a sequence of etchings by the Italian master Piranesi are shown – on loan for the first time ever from the collection of the Royal Academy of Art in The Hague. These works locate Gaillard's very contempora ry practice within the art historical tradition of landscape, whilst also revealing the ongoing artistic fascination with ruins and with shifting notions of the picturesque.

Parallel to the show, Gaillard will excavate a German bunker currently buried in a hill overlooking the beach of Scheveningen. This is an area already undergoing drastic transformation as the existing communities and industries are displaced to make way for new housing developments. Gaillard's project comments obliquely on this process of gentrification and the way in which outmoded architecture is buried or hidden beneath new layers of urban development. This work, titled 'Dunepark' – a rough translation of its location – can be seen as the embodiment of the 'Bunker Archeology' carried out by the French cultural theorist Paul Virilio in his eponymous 1975 book and exhibition. For Gaillard, the physical process of excavating is a form of negative sculpting. He sees this submerged bunker as a buried readymade. With the help of large earth-moving equipment and volunteers of the Foundation Atlantikwall Museum Scheveningen, Gaillard will dig out this massive form to reveal it in all its brutalist glory, before recovering it once more.

'Beton Belvedere' is made possible by the generous support of the Mondriaan Foundation and Maison Descartes - Institut Français des Pays-Bas. Special thanks to the Royal Academy of Art in The Hague, Laura Bartlett Gallery London, Cosmic Gallery Paris, Museum Boijmans van Beuningen.

'Dunepark' is organized in collaboration with the Foundation Atlantikwall Museum Scheveningen. The bunker excavation is made possible by the generous support of the City of The Hague (Culture and Finances), Vestia Den Haag Scheveningen, CulturesFrance Paris and Fonds 1818 The Hague.


Former West – a term never fully articulated as a counterpart to the widely used ‘former East’ – considers the question: What impact did the events of 1989 have on the art of the ‘West’? The project examines significant artistic and cultural developments from 9 November 1989 to the present, speculating on whether 11 September 2001 (destruction of the World Trade Center, New York) and 15 September 2008 (breakdown of the international financial system) might represent new milestones in our artistic, cultural and political histories. More than two decades after one of the greatest political changes in the last 150 years, the project reflects on the cultural output of the ‘new world order’, and embarks on a process of coming to terms, if provisionally, with our recent past. Former West aims to address this history through researching and charting art and culture from 1989 until the present to explore how significant changes in society are reflected and understood in all their complexity in new artistic productions. The project seeks out artworks that not only have something to say – however argumentative and partial – about their times, but which are works ‘of their times’ and even ‘for their times’ (Kaspar König, Westkunst).

Former West is initiated by Maria Hlavajova, artistic director BAK, basis voor actuele kunst, Utrecht. It is curated by Charles Esche (curator, author and director, Van Abbemuseum, Eindhoven), Maria Hlavajova, and Kathrin Rhomberg (curator, Berlin Biennial 6 (2010) and advisor and corresponding member of Secession, Vienna) and developed with a dense network of research advisors and institutional partners.

Peggy Guggenheim Collection

One hundred years after the publication in Le Figaro on February 20 1909 of the Futurist Manifesto, signed by the 'jeune poète italien' Filippo Tommaso Marinetti, the Peggy Guggenheim Collection celebrates this revolutionary avant-garde movement with the exhibition Masterpieces of Futurism at the Peggy Guggenheim Collection, curated by Philip Rylands, director of the Venetian museum (from February 18 through 2009). The exhibition also serves as an homage to the foresight of Gianni Mattioli, one of the great collectors of 20th century art, who accumulated a comprehensive presence of Futurism in his collection. This includes works by Giacomo Balla, Umberto Boccioni, Carlo Carrà, Luigi Russolo, Gino Severini, Ottone Rosai, Mario Sironi and Ardengo Soffici.

Masterpieces of Futurism at the Peggy Guggenheim Collection presents key paintings of the movement such as Materia and Dynamism of a Cyclist by Boccioni, Mercury Passing Before the Sun by Balla, The Galleria of Milan by Carrà, Blue Dancer by Severini, three works from Peggy Guggenheim's collection (Severini's Sea = Dancer, Balla's Abstract Speed + Sound, and Boccioni's sculpture Dynamism of a Speeding Horse + Houses), as well as loans from private collections by Balla, Boccioni, Carrà and Sironi. This will also be the debut of a recent gift to the Solomon R. Guggenheim Foundation, Sironi's early masterpiece The Cyclist (1916). The exhibition includes three of Boccioni's four extant sculptures: in addition to the mixed media Dynamism of a Speeding Horse + Houses, bronze cast of his celebratedDevelopment of a Bottle in Space and Unique Forms of Continuity in Space.

An introductory section of paintings, sculptures and drawings contextualizes the Futurist movement with works of other historical avant-gardes, such as Divisionism, Cubism, Orphism and Vorticism. Jean Metzinger and Raymond Duchamp-Villon explored notions of movement and the mechanical dynamism of modern life, while the London Vorticist Edward Wadsworth, who was inspired by the rhetoric of Marinetti, is represented with two woodcuts, 
Street Singers and Top of the Town, each of them recent gifts to the Solomon R. Guggenheim Foundation, and now on exhibition for the first time.

Marinetti's incendiary manifesto of 1909, which concluded "From the summit of the world we hurl once more our insolent challenge to the stars," was literary in its focus ("the essential elements of our poetry shall be courage, daring and rebellion"), but it made a general appeal for the sweeping renewal of all aspects of Italian culture, predicated on dynamism, speed and technology. A year later five artists signed manifestoes of Futurist painting, on February 11 and April 11, 1910. They were Balla, Boccioni, Carrà, Russolo, and Severini, all of them represented with masterpieces in the Mattioli collection, which has been hosted by the Peggy Guggenheim Collection since 1997 on long-term loan. 

Friday, February 20, 2009

Apple Jelly

Apple Jelly - Head men walking 

Bat For Lashes

Bat For Lashes - Whats a Girl To Do

Trolle Siebenhaar

Trolle Siebenhaar - The Yard

The Aldrich—Robert Lazzarini: Guns and Knives


Artist Robert Lazzarini will continue his exploration of the reconfiguration of objects in 
Guns and Knivesat The Aldrich Contemporary Art Museum. This exhibition marks Lazzarini's most ambitious manipulation of gallery space to date, and will remain on view through September 13, 2009.

The installation will feature all new work, including five .38 Smith and Wesson Model 10 revolvers and a cluster of kitchen knives, addressing repetition of the single object and variation within the group. Each sculpture on display is built from actual materials of functioning weapons, however they have been mathematically distorted in so many different directions that there is no standard perspective.

Lazzarini has augmented The Aldrich's Leir Galley by subjecting the space to subtle wall transformations using compound planar and sine-wave distortions. He activates not only the sculptural figures, but also the visual ground on which they are presented, emphasizing the dislocation of the viewer within the space. The lighting in the gallery reduces shadows and further alters the viewer's perception of dimension.

This body of work is a meditation on fear and violence, contrasting reductive display with charged subject matter and its inherent rational and irrational aspects. Lazzarini says, "The work comes out of my thoughts on murder and the corporeal implications of these particular objects."

Aldrich director and exhibition curator Harry Philbrick comments, "As there is no normative point of view, the installation forces viewers to move around the objects within the space, and to observe firearms, sometimes for the first time, in an unusual way. For instance, for a viewer to observe a revolver as they imagine it in their mind's eye, they might have to position themselves so that they are forced to look directly down the barrel of the gun. This contributes to the physical apprehension of the viewer in confronting the object."

Robert Lazzarini will give a gallery talk about 
Guns and Knives at Behind the Scenes, a members-only private preview, on Friday, February 27, 2009, from 6:30 to 8 pm at the Museum.

Tate Liverpool 

Tate Liverpool and the Fondazione Sandretto Re Rebaudengo, Turin present a major retrospective of the work of Glenn Brown. The exhibition opens today at Tate Liverpool and will run from 28 May until 4 October 2009 in Turin. 

One of the most revered painters of his generation, this exhibition will bring together the largest selection of the artist's work to date. Brown borrows from art history and popular culture, working from the images of Auerbach, Dalí, Rembrandt, science fiction illustrators and many others to investigate the languages of painting and how images are read by the viewer. Brown is fascinated by how reproductions of paintings distort the qualities of their originals. Size, colour, surface texture and brushwork are elements by which original works are transformed from the familiar into the alien. Working from books or projecting reproductions onto a blank picture surface, Brown wildly embellishes his source material. Naturalistic colour becomes putrid or kitsch, figures are elongated or enlarged into the grotesque and heavy impasto, although painstakingly copied, is rendered entirely flat.

The exhibition, which includes over fifty paintings, sculpture and several new works, is arranged to reveal the artist's diverse painterly strategies and preoccupations. 

New Museum 

The New Museum is pleased to present the final Night School program: Public Seminar 12 with Jan Verwoert, February 28 - March 1, 2009. 

Night School is an artist's project by Anton Vidokle in the form of a temporary school. A yearlong series of monthly seminars, screenings, performances and workshops, Night School drew upon a large group of artists, writers, curators, architects, scientists and theorists to conceptualize and conduct the program.
Contributors included (in chronological order): Boris Groys, Mikhail Iampolski, Martha Rosler, Liam Gillick, Maria Lind, Carey Young, Tirdad Zolghadr, Hu Fang, Zhang Wei, Xu Tan, Okwui Enwesor, Paul Chan, Eileen Myles, Rirkrit Tiravanija, Nikolaus Hirsch, Molly Nesbit, Neil Logan, Natascha Sadr Haghighian, Thomas Keenan, Avery Gordon, Walid Raad, Jalal Toufic, Raqs Media Collective (Jeebesh Bagchi, Monica Narula & Shuddhabrata Sengupta), Arani Bose, Steven Pacia.

Night School Public Seminar 12 

Jan Verwoert: 
Why are conceptual artists painting again? 
Because they think it's a good idea.

Friday, February 27, 7:00 p.m.

Saturday, February 28, 3:00 p.m.

Sunday, March 1, 4:00 p.m.

What is the future of medium-specific practices after Conceptualism? 
What is the future of Conceptual Art after the 1990s? 

How have the basic conditions of art practice changed and what words and models could we use to open up the potentials at the heart of these developments in art after Conceptualism? 

The dominant models no longer satisfy. It makes no sense to melodramatically invoke the "end of painting" (or any other medium-specific practice for that part) when the continous emergence of fascinating work obviously proves apocalyptic endgame scenarios wrong. Yet, to pretend it were possible to go back to business as usual seems equally impossible because the radical expansion of artistic possibilities through the landslide changes of the 1960s leave medium-specific practices in the odd position of being one among many modes of artistic articulation, with no preset justification. How can we describe then what medium-specific practices like painting or sculpture can do today?

Likewise, it seems, that we can still not quite convincingly describe to ourselves what Conceptual Art can be: An art of pure ideas? As if "pure" idea art were ever possible let alone desirable! An art of smart strategic moves and puns? We have advertising agencies for that. The social and political dimension of Conceptualism has been discussed, but often only in apodictic terms, not acknowledging the humour, the wit, the existential, emotional or erotic aspects, as well as the iconophile, not just iconoclast motives, that have always also been at play in the dialectics and politics of life-long conceptual practices.

This seminar is a part of an ongoing series of monthly talks and conversations about conditions of contemporary practice that started last Fall at The Building in Berlin. The idea is to invent a new language together in discussions that could describe the potentials of contemporary practice; a language that would acknowledge a shared sense of crisis and doubt, yet fight the senseless paranoia over legitimation that too much bad-faith criticism today exploits in the wake of second-generation institutional critique. In other words: how could, in response to the concerns of contemporary art practice, a critical vocabulary be developed that would break the spell of the oedipal infatuation with the laws of (institutional) legitimacy - and instead help to transform criticism into a truly gay science based on a shared sense of appreciation and irreverence?

Jan Verwoert is an art critic based in Berlin. He is a contributing editor to Frieze magazine and also writes regularly about contemporary art for such art magazines as 
Afterall, Metropolis M, Springerin, and other. His book Bas Jan Ader: In Search of the Miraculous (One Work) was published in 2006 by Afterall Books/MIT Press. He teaches at Piet Zwart Institute, Rotterdam.

All events are free with Museum admission but tickets are required. Tickets can be reserved online or at the Museum one week before the seminar's start; a limited number of tickets will be available one hour before each event's start. Tickets are limited, distributed on a first-come-first-serve basis, and must be collected prior to the event's start time. Unclaimed tickets will be released promptly at the event's start time. Please check individual events below for tickets and more information

Thursday, February 19, 2009



Performa 09, the third biennial of new visual art performance, will be held in New York City from November 1-22, 2009. The three-week city-wide festival will feature new Performa Commissions and an exciting program of performances, exhibitions, educational forums, film screenings, and radio and television broadcasts. Presented with a consortium of arts institutions and a network of public and private venues across the city, Performa 09 will showcase the work of approximately 100 artists in collaboration with over 25 curators -- institutional and independent -- in a lively, performance-driven "festival as think tank" that will be a catalyst for envisioning New York City as "the city of the Future".

Performa 09 will mark the 100th anniversary of the publication of F.T. Marinetti's "Futurist Manifesto" in 1909, which launched the most provocative and cross-disciplinary artistic movement of the twentieth century, bringing some of the radical propositions of the Futurists a century ago back to life in unexpected ways. Using the Futurist template of manifestos-for-the-future in all disciplines, Performa 09 will explore exciting new ideas in visual art, film, music, poetry, graphic design, dance, architecture, and urbanism. The city of New York itself will be featured as an evolving ignition of ideas, its streets, transportation, and airwaves providing a platform for public engagement and inspiration. Following the biennial, several Performa Commissions will tour to venues in Milan, Mexico City and Shanghai. The countdown to Performa 09 will begin with a special Futurist Banquet on February 20th -- the date, one hundred years ago, of the publication of the original manifesto on the front page of Paris's 
Le Figaro -- featuring an inventive menu of recipes from Marinetti's Futurist Cookbook (1932), live music, and performances celebrating this historic occasion.


Performa, a non-profit multidisciplinary arts organization established by art historian and curator RoseLee Goldberg in 2004, is dedicated to exploring the critical role of live performance in the history of twentieth century art and to encouraging new directions in performance for the twenty-first century. Performa launched New York's first performance biennial, Performa 05, in 2005, followed by Performa 07 in 2007.

Performa is supported by grants from the Toby Devan Lewis Philanthropic Fund, The Rockefeller Foundation NYC Cultural Innovation Fund, The Andy Warhol Foundation for the Visual Arts, The Greenwall Foundation, the Peter Norton Family Foundation, the David & Elaine Potter Charitable Trust, Bloomberg L.P., the Korea Foundation, the Rockefeller Brothers Fund, the Helena Rubenstein Foundation, the Starry Night Fund of the Tides Foundation, the Foundation for Contemporary Arts, Furthermore: a program of the J.M. Kaplan Fund, the Performa Board of Directors, the Performa Producer's Circle, the Performa Visionaries, and many generous individuals. Public support is provided by the National Endowment for the Arts, the New York Council for the Humanities, and The Lower Manhattan Cultural Council. 

Magasin 3 Stockholm Konsthall

Santiago Sierra focuses on Magasin 3's location within the historical free port area and presents a selection of works dated from 1998 to 2009. Transport, merchandise and shipping, all essential elements of a port, are also important subjects in Sierra's artistic practice and the focus of an exhibition that drones, rumbles and smells. 

The exhibition's curator Elisabeth Millqvist describes the challenging artist as follows: 
"Sierra's work leaves no one unmoved. He combines the political with the poetical and provocative in works that deal with urgently pressing contemporary issues." 

The exhibition starts outside the entrance with 
Door plate (2006), a work that lists all those who are barred from entering. Well inside Magasin 3, in Banana Company illuminated by diesel generator he focuses his attention on the immediate surroundings. From the balcony of the gallery a spotlight is aimed at the Banana Company, illuminating the back of the building facing the quayside. The artist describes the work briefly: "I just want to remind you of where the banana comes from." The source of illumination, the spotlight, is powered by a diesel generator placed inside. The exhaust fumes are conducted from the premises through a hose. It winds its way 50 metres through the exhibition and makes the fumes tangible. The spaces become a sheet of paper for a long, unbroken line that together with the loud and monotonous noise insists on affirming its presence.

In addition the action 
One person obstructing a line of containers (Stockholm, 2009) took place at the opening and is exhibited as a video projection. Six trucks drive along the wharf. Facing them, one person stands as an obstacle. The first lorries swerves, changes direction. The person stands in the way again. Standing in the way, obstruction, is a key factor in Sierra's oeuvre and relates to several previous works. Also emphasizing the site, the entire ground floor is occupied by a large-scale sculptural work 21 Anthropometric modules made from human faeces by the people of Sulabh International, India(2005/2006). In the warehouse building the work is presented as if it was just shipped in.

For the exhibition Sierra also thinks site-specifically in a wider sense of the term. He creates a link to Sweden and local current debate regarding the situation for Romani people, showing two pieces made in Naples, 2008. The exhibition is also present in the city, spilling over onto billboards with the work 
89 huicholes (2006).

Parallel to the exhibition at Magasin 3, Instituto Cervantes (the Spanish cultural institute in Stockholm) will also show Sierra's works. One of them is 
Los Penetrados (2009) that had it's premiere in Madrid in January. 

Santiago Sierra has been creating socially critical actions since the mid 1990s. When he represented Spain at the Venice Biennale he bricked up the entrance to the Spanish pavilion. He has worked with drug addicts and prostitutes, and has created an income index related to skin color. By means of formal works or staged events, he exposes and calls attention to social conditions. In these works, people become objects that can be painted, used, and organized according to different hierarchies. Often seen with their backs to the viewer, they become anonymous examples of how human dignity is an economic privilege. The artist uses the titles of the works to describe precisely what we are seeing and thereby invites us to look beyond the form or the action being performed. 

Wednesday, February 18, 2009

Vampire Weekend

Vampire Weekend - Oxford Comma

Housse de Racket

Housse de Racket -  Oh Yeah

Monday, February 16, 2009

Tom Tom Club

tom tom club - genius of love

Band of Horses

Band of Horses - The Great Salt Lake


Van She - Strangers


Ladyhawke - My Delirium

Passion Pit

Passion Pit - Sleepyhead

The Metros

The Metros - Last of the Lookers


Seelenluft feat. Florian Horwath - HORSE WITH NO NAME

Sunday, February 15, 2009


Julieta Aranda, Tjorg Douglas Beer, Tobias Bernstrup, Andreas Golder, Gregor Hildebrandt, Christian Jankowski, Dionisis Kavallieratos, John Kleckner, Alicja Kwade, Annika Larsson, Joep van Liefland, Sara Lunden, Sifis Lykasis, Stefan Mörsch, RothStauffenberg, Alexandros Tzannis, Malte Urbschat and Costa Vece

ALP/Peter Bergman is proud to present Tjorg Douglas Beers first solo exhibition in Sweden and an edition of the Berlin-based Forgotten Bar Project.

The works of Tjorg Douglas Beer often revolve around the themes of politics and religion. His imagery juxtaposes sarcasm with seriousness, in order to portray the absurd character of reality. 

For MISANTHROPENKARUSSELL Tjorg Douglas Beer has created an installation of scupltures as well as a series of new paintings. This exhibition portrays deforming effects of an intensified media created reality. In this foreboding climate he tries to find a line between the horrific and fragile beauty. The sculptures showing deformed metal heads which constitute the misanthropic carousel and the heads painted on canvas and mirror become iconic image of our own era.

Tjorg Douglas Beer presents a dualistic view of the world. His works radiate the energy captured by the competing and conflicting forces which dominate our world. 
He finds a tension in this polarization, very much like the one we are exposed to in our own lives. 

Tjorg Douglas Beer was born in Lübeck, Germany in 1973. He studied at the Arts Academy in Hamburg, and lives and works in Berlin. He has had solo exhibitions at the Produzentengalerie Hamburg, Mitchell-Innes & Nash, NY, Arndt & Partner, Zürich, as well as several museums and arts centres around the world.

The Forgotten Bar Project

Tjorg Douglas Beer is also the initiator of GALERIE IM REGIERUNGSVIERTEL BERLIN and has now put together a selection of 18 artists to introduce The Forgotten Bar Project to Stockholm. 

The FORGOTTEN BAR PROJECT opened in Berlin-Kreuzberg for the months July and August 2008 and showed different exhibitions every night for 60 days. 

The FORGOTTEN BAR PROJECT was initiated by GALERIE IM REGIERUNGSVIERTEL, BERLIN in cooperation with the artists and others to provide an interface for contemporary strategies and activities in art and culture as well as a resort for artists in Berlin Kreuzberg.

The artists are Julieta Aranda, Tjorg Douglas Beer, Tobias Bernstrup, Andreas Golder, Gregor Hildebrandt, Christian Jankowski, Dionisis Kavallieratos, John Kleckner, Alicja Kwade, Annika Larsson, Joep van Liefland, Sara Lunden, Sifis Lykasis, Stefan Mörsch, RothStauffenberg, Alexandros Tzannis, Malte Urbschat and Costa Vece.