Soulwax - E-talking
Wednesday, October 15, 2008
Sunday, October 12, 2008
Le Laboratoire
Le Laboratoire is pleased to present, for the first time in Europe, a personal exhibition of the Japanese artist Ryoji Ikeda, a major figure of the sound and visual electronic scene. From his correspondence with the American mathematician Benedict Gross, he has conceived a work where the definition of the sublime blends with the immateriality of infinity. Welcome to a world of millimeter precision.
"As an artist/composer, my intention is always polarized by concepts of "the beautiful and the sublime". To me, beauty is crystal; rationality, precision, simplicity, elegance, delicacy. The sublime is infinity; infinitesimal, immensity, indescribable, ineffable. The purest beauty is the world of mathematics. Its perfect assemblage amongst numbers, magnitudes and forms persist despite us. The aesthetic experience of the sublime in mathematics is awe-inspiring. It is similar to the experience we have when we confront the vast magnitude of the universe, which always leaves us openmouthed. The aim of this project is to engage in dialogue with the mathematician Benedict Gross and other number theorists to find a common language on aesthetics." Ryoji Ikeda
"As an artist/composer, my intention is always polarized by concepts of "the beautiful and the sublime". To me, beauty is crystal; rationality, precision, simplicity, elegance, delicacy. The sublime is infinity; infinitesimal, immensity, indescribable, ineffable. The purest beauty is the world of mathematics. Its perfect assemblage amongst numbers, magnitudes and forms persist despite us. The aesthetic experience of the sublime in mathematics is awe-inspiring. It is similar to the experience we have when we confront the vast magnitude of the universe, which always leaves us openmouthed. The aim of this project is to engage in dialogue with the mathematician Benedict Gross and other number theorists to find a common language on aesthetics." Ryoji Ikeda
Girls' Club
Girls' Club's second annual exhibition, Under the Influence, explores the phenomenon of cross-pollination that occurs at every level of arts production today. The work on view is selected from the Girls' Club collection of works by contemporary women artists and from other artists and other art collections. The presentation of this exhibition is a collaborative endeavor, co-presented by the Art & Culture Center in Hollywood, Florida. Both organizations are dedicated to enriching the arts community in Broward County, South Florida with cutting edge shows.
Under the Influence demonstrates the multi-faceted roles artists play in the contemporary art scene. Artists as curators exert a powerful influence on posterity, re-shaping the context in which artwork is seen and understood. The three curators/artists organizing the exhibition play multiple roles in the arts community, and their individual aesthetic and conceptual leanings will be felt. Under the Influence is assembled by a curatorial team of three artists - collector and Girls' Club founder Francie Bishop Good, Girls' Club Director and arts writer Michelle Weinberg, and Curator of Exhibitions at Art & Culture Center of Hollywood and art consultant Jane Hart.
Under the Influence demonstrates the multi-faceted roles artists play in the contemporary art scene. Artists as curators exert a powerful influence on posterity, re-shaping the context in which artwork is seen and understood. The three curators/artists organizing the exhibition play multiple roles in the arts community, and their individual aesthetic and conceptual leanings will be felt. Under the Influence is assembled by a curatorial team of three artists - collector and Girls' Club founder Francie Bishop Good, Girls' Club Director and arts writer Michelle Weinberg, and Curator of Exhibitions at Art & Culture Center of Hollywood and art consultant Jane Hart.
Thursday, October 9, 2008
Daimler Contemporary
DAIMLER AWARDS FOR CONTEMPORARY ART FROM GERMANY, JAPAN, SOUTH AFRICA AND THE USA
Under the name FORWARDS 08 the Daimler Art Collection is linking together three international awards for contemporary art. Along with the German-Japanese exchange program Art Scope and the Mercedes-Benz Award for South African Art and Culture, this year's event in Haus Huth in Berlin also sees the presentation of the Emerging Artist Award given in conjunction with Daimler Financial Services.
FORWARDS 08 brings Daimler AG's international and sustained promotion of young artists together for the first time in one exhibition: Daimler Japan launched the Art Scope Award in the early 1990s. A quick glance at the list of award winners to date shows that it was made to talented young artists who have gone on to represent key aspects of contemporary art in Japan. The Mercedes-Benz Award for South African Art and Culture was initiated in 1999. This award, given each year since in a different specialist area such as painting, sculpture, dance, poetry, music, photography and choreography, is recognized as the most significant cultural award in South Africa. The Emerging Artist Award, presented in 2008 for the fourth time by Daimler Financial Services 2008, is now part of a global network working to foster and promote contemporary art and culture.
Under the name FORWARDS 08 the Daimler Art Collection is linking together three international awards for contemporary art. Along with the German-Japanese exchange program Art Scope and the Mercedes-Benz Award for South African Art and Culture, this year's event in Haus Huth in Berlin also sees the presentation of the Emerging Artist Award given in conjunction with Daimler Financial Services.
FORWARDS 08 brings Daimler AG's international and sustained promotion of young artists together for the first time in one exhibition: Daimler Japan launched the Art Scope Award in the early 1990s. A quick glance at the list of award winners to date shows that it was made to talented young artists who have gone on to represent key aspects of contemporary art in Japan. The Mercedes-Benz Award for South African Art and Culture was initiated in 1999. This award, given each year since in a different specialist area such as painting, sculpture, dance, poetry, music, photography and choreography, is recognized as the most significant cultural award in South Africa. The Emerging Artist Award, presented in 2008 for the fourth time by Daimler Financial Services 2008, is now part of a global network working to foster and promote contemporary art and culture.
Paris Photo 2008
Paris Photo 2008: an exceptional panorama of Japanese photography
From November 12th to 16th 2008, Paris Photo will bring together at the Carrousel du Louvre, 107 exhibitors from 19 countries. With 78% of participants from abroad and 37 newcomers, the selection for 2008 has favoured a greater focus on personal exhibitions and thematic projects, presenting the best photographic expressions from the earliest time to the present day. But one of the important aspects of this 12th edition is the invitation of Japan as country of honour: with the work by more than 130 artists on show, Paris Photo will offer an exceptional overview of a unique site of practice, from the Meiji era to the most contemporary production. To date, no exhibition in Europe has broadly brought together such a number of Japan's modern, contemporary and emerging photographers.
From November 12th to 16th 2008, Paris Photo will bring together at the Carrousel du Louvre, 107 exhibitors from 19 countries. With 78% of participants from abroad and 37 newcomers, the selection for 2008 has favoured a greater focus on personal exhibitions and thematic projects, presenting the best photographic expressions from the earliest time to the present day. But one of the important aspects of this 12th edition is the invitation of Japan as country of honour: with the work by more than 130 artists on show, Paris Photo will offer an exceptional overview of a unique site of practice, from the Meiji era to the most contemporary production. To date, no exhibition in Europe has broadly brought together such a number of Japan's modern, contemporary and emerging photographers.
Wednesday, October 8, 2008
SCOPE London
Building on the success of its international art fair program, SCOPE Art Fair is pleased to announce the return of its fourth SCOPE London art fair, October 16-19, 2008. Conveniently located in Lord's Cricket Ground, SCOPE London is situated directly across from Regents Park, within walking distance of Frieze. SCOPE London's 50 international exhibitors will offer visitors an unparalleled survey of the emerging contemporary art world alongside special events and museum-quality programming.
SCOPE Art Fair is recognized for presenting cutting edge contemporary art featuring emerging dealers, curators and artists from around the world. For over six years we have been presenting SCOPE to new audiences internationally making it the most comprehensive destination for the emerging art world with fairs in Miami, Basel, New York, London and the Hamptons.
SCOPE Art Fair is recognized for presenting cutting edge contemporary art featuring emerging dealers, curators and artists from around the world. For over six years we have been presenting SCOPE to new audiences internationally making it the most comprehensive destination for the emerging art world with fairs in Miami, Basel, New York, London and the Hamptons.
AC[Institute Direct Unlimited Chapel]
Unearthed uses a relatively simple device –a human skeleton on the floor of the gallery- in order to instigate a much wider series of responses and relationships and life. The object is a departure point. Unearthed re-examines the strategy of presenting an object inside of textual concept. The object is an imperfect and flawed, but basic "life" model found in all art departments and medical schools. It is a plastic artifact. It is a model, 4th quality copy of our basic sculptural form, our hidden physical structure which is used as a device that mirrors or reflects the ultimate human condition. The key concerns of the project are the issues of the human condition, hidden structures in our lives and art, private and public worlds, and relationships with the larger institutional framework, trade and globalization, art and anthropology.
We are looking for a forensic team(s) to help with this investigation. They will need to ask and present new questions. Material will be catalogued and displayed. Information that is contributed maybe visual, sound, video or text. Supposition and conjectures are needed and very welcome. Any and all investigative techniques, scientific to paranormal, will be considered and utilized
We are looking for a forensic team(s) to help with this investigation. They will need to ask and present new questions. Material will be catalogued and displayed. Information that is contributed maybe visual, sound, video or text. Supposition and conjectures are needed and very welcome. Any and all investigative techniques, scientific to paranormal, will be considered and utilized
Walker Art Center
Tetsumi Kudo's room-size installation titled Philosophy of Impotence, a culmination of his early radical performances and installations, stunned the Tokyo art world in 1962 and came to be known as one of the most iconic works in postwar Japanese art history. Tetsumi Kudo: Garden of Metamorphosis, the late artist's first solo museum exhibition in the United States, premieres at the Walker Art Center on October 18, 2008.
Organized by Walker visual arts curator Doryun Chong, in close collaboration with the artist's estate, the retrospective exhibition features more than 100 works of diverse media—objects, sculpture, installation, drawing, and painting—covering the entire trajectory of Kudo's productive career, from the late 1950s through the 1980s, drawn from important collections in Japan, Europe, and the United States. Tetsumi Kudo: Garden of Metamorphosis introduces the artist and his singular body of work to American audiences.
Organized by Walker visual arts curator Doryun Chong, in close collaboration with the artist's estate, the retrospective exhibition features more than 100 works of diverse media—objects, sculpture, installation, drawing, and painting—covering the entire trajectory of Kudo's productive career, from the late 1950s through the 1980s, drawn from important collections in Japan, Europe, and the United States. Tetsumi Kudo: Garden of Metamorphosis introduces the artist and his singular body of work to American audiences.
Sunday, October 5, 2008
FRAC Bourgogne
For his first solo show in France, Stefan Brüggemann (born in 1975 in Mexico City) has brought together a selection of works which subversively upset the rules of the art game, in particular, here, those governing representation and its content.
Stefan Brüggemann’s proposition is as paradoxical as it is provocative, in the way he plays with artistic codes, the better to reduce them to nothing. Art history tumbles into oblivion in favour of the surface of images. For example, he uses typography, but in order to deny the artistical reference thereto, typography also making reference to communication methods. The nihilist posture comes across in an often seductive way, ensnaring the spectator in his/her own art culture.He describes his praxis as TWISTED CONCEPTUAL POP, an association that is nothing if not paradoxical.
The exhibition is constructed in three areas. A small entrance room is painted all in black, with, on the floor, a pile of posters with white wording printed on a similarly black ground—references to minimal sculpture and political art which Stefan Brüggemann one more activates the better to underscore the uselessness of all political ambition in art, along with all content-related dimensions.
Two rooms echo each other on either side. Five reversed mirrors, facing the wall, are shown in one room, and five sentences made with black adhesive lettering are written on the walls of the other room. The sentences are very representative of what he has been developing since the mid-1990s : to deny today’s norm of the "all-communicational", where everyone is summoned to explain, comment, and elucidate, until the cows come home. Stefan Brüggemann sets up a language of refusal, often negative postulates affirming void, absence and impossibility. The texts he has chosen here are provocative in what they proclaim.
Stefan Brüggemann’s proposition is as paradoxical as it is provocative, in the way he plays with artistic codes, the better to reduce them to nothing. Art history tumbles into oblivion in favour of the surface of images. For example, he uses typography, but in order to deny the artistical reference thereto, typography also making reference to communication methods. The nihilist posture comes across in an often seductive way, ensnaring the spectator in his/her own art culture.He describes his praxis as TWISTED CONCEPTUAL POP, an association that is nothing if not paradoxical.
The exhibition is constructed in three areas. A small entrance room is painted all in black, with, on the floor, a pile of posters with white wording printed on a similarly black ground—references to minimal sculpture and political art which Stefan Brüggemann one more activates the better to underscore the uselessness of all political ambition in art, along with all content-related dimensions.
Two rooms echo each other on either side. Five reversed mirrors, facing the wall, are shown in one room, and five sentences made with black adhesive lettering are written on the walls of the other room. The sentences are very representative of what he has been developing since the mid-1990s : to deny today’s norm of the "all-communicational", where everyone is summoned to explain, comment, and elucidate, until the cows come home. Stefan Brüggemann sets up a language of refusal, often negative postulates affirming void, absence and impossibility. The texts he has chosen here are provocative in what they proclaim.
Andy Warhol
"Before I was shot I always suspected I was watching TV instead of living life. Right when I was being shot, and ever since, I knew that I was watching television.' Andy Warhol, 1968
No artist living in the second half of the 20th century has made a deeper impression on popular culture than Andy Warhol (1928-1987). 40 years on from Warhol's first major exhibition in Europe, and his infamous shooting by Valerie Solanas, The Hayward presents a major exhibition that brings a fresh perspective to his work Andy Warhol: Other Voices, Other Rooms, 7 October 2008 – 18 January 2009.
Visitors will be immersed in Warhol's way of thinking and working through the exciting multi-media installation which will transform the gallery. Paintings and prints of famous icons including Marilyn Monroe and Campbell's soup tins, will be shown alongside video, TV programmes, films, Polaroid photos, delicate drawings, album covers and wallpaper patterns. This vivid presentation reflects Warhol's egalitarian maxim, 'all is pretty'; with all media presented on the same level.
No artist living in the second half of the 20th century has made a deeper impression on popular culture than Andy Warhol (1928-1987). 40 years on from Warhol's first major exhibition in Europe, and his infamous shooting by Valerie Solanas, The Hayward presents a major exhibition that brings a fresh perspective to his work Andy Warhol: Other Voices, Other Rooms, 7 October 2008 – 18 January 2009.
Visitors will be immersed in Warhol's way of thinking and working through the exciting multi-media installation which will transform the gallery. Paintings and prints of famous icons including Marilyn Monroe and Campbell's soup tins, will be shown alongside video, TV programmes, films, Polaroid photos, delicate drawings, album covers and wallpaper patterns. This vivid presentation reflects Warhol's egalitarian maxim, 'all is pretty'; with all media presented on the same level.
Calouste Gulbenkian
Thomas Weinberger's photographs surprise by the strange and surreal atmosphere they convey. Sharply defined, almost sculptural, they show industrial plants and urban landscapes devoid of any human traces.
These spectral images are the result of a distinct technique that Thomas Weinberger uses for his work process. The German photographer takes two pictures of the same motif, a day shot and a night shot, and superimposes them subsequently in order to obtain the synthesis of two different lighting situations. This superimposition of natural light and artificial light questions our usual perception of the world and creates a fictional or imagined temporality.
In this alienated reality darkness becomes embedded in light, and conversely light in darkness. Any ephemeral, instantaneous element, any trace of human presence disappears. What remains are empty places appearing as relics of a past human civilization.
As a former architect, Thomas Weinberger puts this discipline into the centre of his work. He explores urban architecture and chooses buildings, bridges, tracks, harbours and industrial plants as motifs of his photographs. Through his process of synthetis and through the static composition of his photographs, Weinberger adorns these banal places with a luminous aura and creates an eerie, fascinating atmosphere.
These spectral images are the result of a distinct technique that Thomas Weinberger uses for his work process. The German photographer takes two pictures of the same motif, a day shot and a night shot, and superimposes them subsequently in order to obtain the synthesis of two different lighting situations. This superimposition of natural light and artificial light questions our usual perception of the world and creates a fictional or imagined temporality.
In this alienated reality darkness becomes embedded in light, and conversely light in darkness. Any ephemeral, instantaneous element, any trace of human presence disappears. What remains are empty places appearing as relics of a past human civilization.
As a former architect, Thomas Weinberger puts this discipline into the centre of his work. He explores urban architecture and chooses buildings, bridges, tracks, harbours and industrial plants as motifs of his photographs. Through his process of synthetis and through the static composition of his photographs, Weinberger adorns these banal places with a luminous aura and creates an eerie, fascinating atmosphere.
Saturday, October 4, 2008
Wood Street Galleries
Wood Street Galleries, a project of The Pittsburgh Cultural Trust, presents the world premiere of new work by New York-based Austrian artist Kurt Hentschlager: ZEE[RANGE], October 3-December 31, 2008. In this exhibition, Hentschlager creates an immersive environment of sight and sound reflecting on the nature of human perception and the accelerated impact of new technologies on both individual and collective consciousness.
Trained as a fine artist, Hentschlager began to exhibit his work in 1983, building surreal machine-objects and then video, computer animation and sound works. Between 1992 and 2003 he worked collaboratively as a part of the duo Granular-Synthesis. Employing large-scale projected images and drone like sound-scapes, his performances confronted the viewer on both a physical and emotional level, overwhelming the audience with sensory stimulation.
Trained as a fine artist, Hentschlager began to exhibit his work in 1983, building surreal machine-objects and then video, computer animation and sound works. Between 1992 and 2003 he worked collaboratively as a part of the duo Granular-Synthesis. Employing large-scale projected images and drone like sound-scapes, his performances confronted the viewer on both a physical and emotional level, overwhelming the audience with sensory stimulation.
Dublin City Gallery
Fergus Martin's exhibition at Dublin City Gallery The Hugh Lane is drawn from his recent experiences of sight and seeing. A new body of work in painting and sculpture that is united by a sense of drama and raucous reflection. Yet their placement leaves the viewer in an unsettled state of calm.
Martin has called his paintings 'the carriers' of colour, but the colour is not restricted only to its structured composition. Mediated by the viewers gaze, it belongs to the entirety of the world as the eye sees it, and renders it accessible.
Born in Dublin in 1955, Fergus Martin works in a variety of media from two-dimensional work such as painting and photography to sculptural works, defining and questioning the relationship between central and peripheral, form and energy. He has exhibited widely with recent exhibitions at Internationale Kunst in der Südwestkurve, in Karlsruhe, Germany, and in C2, Crawford Municipal Gallery of Art, Cork.
Martin has called his paintings 'the carriers' of colour, but the colour is not restricted only to its structured composition. Mediated by the viewers gaze, it belongs to the entirety of the world as the eye sees it, and renders it accessible.
Born in Dublin in 1955, Fergus Martin works in a variety of media from two-dimensional work such as painting and photography to sculptural works, defining and questioning the relationship between central and peripheral, form and energy. He has exhibited widely with recent exhibitions at Internationale Kunst in der Südwestkurve, in Karlsruhe, Germany, and in C2, Crawford Municipal Gallery of Art, Cork.
K21 Kunstsammlung
Lawrence Weiner (born 1942, South Bronx, New York) has been long recognized as a central figure among the founders and developers of Conceptual Art, whose origins reach back to the 1960s. The exhibition Lawrence Weiner: AS FAR AS THE EYE CAN SEE is the most important retrospective in many years to be devoted to this radical, complex, and epochal artist. Especially in recent years, Weiner has been regarded as one of the most influential and dynamic artists worldwide. He has defined art as "the relationship of human beings to objects and of objects to objects in relation to human beings," and this premise constitutes the core of all of his work to date. For Weiner, language is a material object - whereby the existence of the individual work is nonetheless independent of its material execution. His works address an unending diversity of physical and cultural phenomena, exploiting verbal figures, punctuation marks, and graphic elements as resources in order to transg ress conventional hierarchies and boundaries. Here are works that address matters both simple and complex, challenging viewers in both conceptual and political terms.
Friday, October 3, 2008
Nottingham Contemporary
Vito Acconci, Shaina Anand, Atelier Van Lieshout, Angela Bulloch, Chris Evans, Harun Farocki, Dan Graham, Group d'Information sur les Prisons, Mona Hatoum, Thomas Hirschhorn, Evan Holloway, Ashley Hunt, Elie Kagan, Multiplicity, Bruce Nauman, Tatiana Trouvé, Artur Zmijewski
Sixteen international artists become "inmates" in The Impossible Prison, an exhibition in an abandoned police station inspired by Michel Foucault's thoughts on power, control and surveillance.
The police station, which closed following the 1984 Miner's Strike, is part of the Galleries of Justice, a crime museum in Nottingham. Built into the cliff that runs through the city, it houses Her Majesty's Prison Service collection. With five subterranean floors of cells, courts and dungeons that date from 1375, it is a literal archaeology of punishment. Foucault described his own approach to history as 'archaeological'.
The Impossible Prison is the final instalment of Histories of the Present, Nottingham Contemporary's year-long programme of exhibitions and events in historical sites in and around Nottingham before moving into their own new building next year. Foucault has been an underlying inspiration. With The Impossible Prison his influence becomes explicit.
Sixteen international artists become "inmates" in The Impossible Prison, an exhibition in an abandoned police station inspired by Michel Foucault's thoughts on power, control and surveillance.
The police station, which closed following the 1984 Miner's Strike, is part of the Galleries of Justice, a crime museum in Nottingham. Built into the cliff that runs through the city, it houses Her Majesty's Prison Service collection. With five subterranean floors of cells, courts and dungeons that date from 1375, it is a literal archaeology of punishment. Foucault described his own approach to history as 'archaeological'.
The Impossible Prison is the final instalment of Histories of the Present, Nottingham Contemporary's year-long programme of exhibitions and events in historical sites in and around Nottingham before moving into their own new building next year. Foucault has been an underlying inspiration. With The Impossible Prison his influence becomes explicit.
Thursday, October 2, 2008
ZONA MACO. MEXICO ARTE CONTEMPORANEO
A few months before the opening of Mexico's International Contemporary Art Fair, we would like to inform you about its organization and the main points of the ZONA MACO. MEXICO ARTE CONTEMPORANEOproject.
ZONA MACO. MEXICO ARTE CONTEMPORANEO, will take place at the Centro Banamex, Hall D in Mexico City, from the 22nd through the 26th of April 2009, organized by Cultura y Arte Contemporáneo Zeta S.A. De C.V., under the direction of Zélika García.
The Selection Committee for 2009 is:
Patricia Ortiz Monasterio & Jaime Riestra
OMR, MEXICO
Daniel Roesler
NARA ROESLER, BRASIL
Thomas Krinzinger
KRINZINGER PROJEKTE, AUSTRIA
Silvia Ortiz & Inés López Quesada
TRAVESIA CUARTO, SPAIN
Pablo León de la Barra
DE LA BARRA, UK
This year's fair will include 90 galleries from around the world, representing more than 800 artists in over 10 000 square meters of exhibition space.
The Main Section will host galleries with more than five years of experience that meet the standards of quality as determined by the Selection Committee. Booths in this area afford a variety of dimensions: 40, 60, 80 or 120 square meters.
The New Proposals Section will host galleries with less than 5 years' experience, presenting emerging artists in booths measuring 20 square meters.
The ublications Section will include more than 40 press and internet media outlets, both national and international.
ZONA MACO SUR is a new section devoted to solo projects curated by Adriano Pedrosa.
The section will host 12-15 booths of 24m2 each with solo exhibitions
sponsored by galleries selected exclusively by invitation. The section will
privilege emerging and mid-career artists from the Southern Hemisphere,
particularly those who have not had significant exposure in the Mexican scene.
ZONA MACO MEXICO ARTE CONTEMPORANEO has gathered the five most important public relations and communications agencies in the country to elaborate media plans for the promotion of the fair. The selected agencies will work closely with the fair's organizers in order to coordinate an event of the utmost professionalism, with exceptional coverage and publicity.
Our Collector's Program, organized by Pablo del Val, will include a socio-cultural program with visits to private collections, museums in the city, as well as dinners and festivities with international museum representatives, curators and art professionals. Invitations will be tailored to each exhibitor's needs, and we have increased their number for this coming April.
We will keep you updated with relevant information and news such as the awards and activities that will take place at the fair, including the Tequila Centenario Award, events during the Sao Paolo Bienal and Art Basel Miami Beach, among other activities throughout the coming year.
You will find the 2009 application forms at our webpage, www.zonamaco.com.
The deadline for submission is October 31st, 2009.
Philadelphia Museum of Art
The latest installment of the Live Cinema series at the Philadelphia Museum of Art presents the work of Italian artist and filmmaker Anita Sieff who in her films explores the complexities of human communication in lyrical and everyday scenarios. The exhibition Anita Sieff: Films focuses on her work in film and video since 1993. In these films contemporary urban settings provide the backdrop for a series of fragmented, and at times abstract dialogues, through which women and men explore the complex terrain of their interpersonal relationships. In films such as Public Love (2003) and Fashion Weather Forecast (2006), Sieff reveals the ways in which individual identities are constructed, beliefs debated, and emotions examined through these interactions.
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