Aurelien Froment

http://www.bonnierskonsthall.se

Bonniers Konsthall opens its autumn season with magical memories and classical illusions. The French artist Aurélien Froment is showing the video installation Théâtre de Poche (Pocket Theatre) and the performance Le chiffre à la letter (Code Countdown).

Aurélien Froment works with pictures, objects and symbols. He playfully speculates about how things are given meaning by means of language and context. In the video installation Théâtre de Poche(Pocket Theatre) and the performance Le chiffre à la lettre (Code Countdown) we meet illusionists and simple tricks that fascinatingly stimulate our imaginations. Pocket Theatre is loosely based on the story of the vaudeville artist Arthur Lloyd, also known as the "The Human Card Index". Lloyd made a name for himself in the 1930s by fishing pieces of printed matter out of his pockets on request. For the current work, Froment borrows from the magician's randomly selected world and creates an illusion of freely floating images. The chronological narrative soon shifts over into the simultaneity of collage. Like a thought map built up out of associations between form and content, the photographs show classical sculptures, exotic animals, anatomical models and buildings.

Le chiffre à la lettre (Code Countdown), meanwhile, is based on an interview with the French magician Benoît Rosemont. Rosemont talks about magic and ingenious techniques for memorising numbers. He shares his own tricks with us, and reveals the methods of older colleagues. This is Froment's latest work, and it premiered earlier this year at Khastoo Gallery in Los Angeles. In Stockholm, the monologue will be performed by the Swedish actor Johan Holmberg on three occasions during the exhibition period; at Bonniers Konsthall on 27 August at 6.15 pm and on 10 October at 2.30 pm as well as at the Royal Dramatic Theatre on 29 August at 1 pm.

Aurélien Froment grapples with existing worlds of images and generously shares his own. In an expansive motion he expresses himself through books, performances, video, photography and objects. The works are multi-layered and call for a sharp eye, with references that can be traced to feature films, early film technology and literature. Froment is inspired by historical personages who have worked with everything from magic to creating and manipulating images as architects and puzzle makers do.

Aurélien Froment (born 1976) lives and works in Dublin. He was educated at the art schools in Nantes and Rennes, and has contributed to numerous exhibitions internationally, including at De Appel in Amsterdam, Gasworks, London and CCA Wattis Institute for Contemporary Arts, San Francisco, as well as at the Palais de Tokyo in Paris.

In collaboration with the Royal Dramatic Theatre. Supported by CULTURESFRANCE.

Mona Vatamanu & Florin Tudor

http://www.bak-utrecht.nl

The most comprehensive overview of the artist duo's work to date, Surplus Value investigates their critical engagement with defining issues of today such as collective memory and amnesia, the formulation of artistic agency, and the politics of representation. Vatamanu and Tudor's broad-reaching practice has positioned them among the most compelling and literate interpreters of our contemporary post-communist condition, which extends far beyond their native Romania. The exhibition centers upon a number of major new productions that reflect on the current global situation and are grounded in the discourse articulated by the artists throughout the past decade. The new productions on view include Calea [The Path], an installation consisting of tons of rusted shredded metal spread onto the exhibition floor and Lingouri de rugina [Rust Ingots], a pile of ingots produced from shredded metal, both poignant meditations on the vagaries of profit and value, accumulation and loss. Plus valoarea[Surplus Value], a new film that gave the name to and set the tone for the exhibition, documents the whittling down of a piece of metal to nothing. These works are put into dialogue with a selection ofVatamanu and Tudor's older pieces, among which Vacaresti (2006), Das Kapital [Capital] (2007), andAugust (2004–2007) and with the series Intalnire cu Istoria [Appointment with History], 2007–2009, which includes new paintings made for this exhibition. Surplus Value is curated by Cosmin Costinas.

On the occasion of the exhibition, BAK presents the first monograph on the artists' work, Mona Vatamanu and Florin Tudor, published by BAK and post editions, Rotterdam. This major publication includes extensive images of their work since 2000 and four newly commissioned texts by Cosmin Costinas (writer and curator BAK, Utrecht), Vivian Rehberg (art historian and art critic, Paris),David Riff (art critic and artist, Moscow), and Georg Schöllhammer (curator and editor-in-chief ofSpringerin, Vienna). The publication also contains an in-depth interview between the artists and Bucharest-based independent curator and writer Mihnea Mircan. The monograph is edited byCosmin Costinas and Jill Winder.

Surplus Value is the first research exhibition within the long-term project Former West, an international research, education, publishing, and exhibition undertaking (2008–2013). For more information, please visit http://www.formerwest.org.

Mona Vatamanu (born 1968) and Florin Tudor (born 1974) work together since 2000. Their artistic practice spans diverse media including film, photography, painting, performance, and site-specific projects. Their work has been included in numerous international exhibitions including (selection): Blind Spots, Akademie der bildenden Künste Wien, Vienna, 2009; 5th Berlin Biennial, Kunst-Werke Institute for Contemporary Art, Berlin, 2008; Like an Attali Report, but different. On fiction and political imagination, Kadist Art Foundation, Paris, 2008; Since we last spoke about monuments, Stroom Den Haag, The Hague, 2008; and Low-Budget Monuments, 52nd Venice Biennial, Romanian Pavilion, Venice, 2007. This fall, Vatamanu and Tudor will have solo exhibitions at Westfälischer Kunstverein, Münster and the Graphisches Kabinett, Secession, Vienna, among others. On the occasion of theSurplus Value exhibition and the monograph the artists took part in BAK's Research-in-Residence program. Vatamanu and Tudor live and work in Bucharest.

Nasreen Mohamedi

http://www.mk-g.org

About Nasreen Mohamedi
Nasreen Mohamedi (1937–1990) was born in Karachi, (formerly India, now Pakistan) before moving to Mumbai. She travelled abroad to study, spending time in London at Saint Martin's School of Art (1954–57) and in Paris. After extensive travels to Iran and Turkey in the 60s, she returned to India and settled in Baroda in 1972; here, she became a teacher at the prestigious M.S.University, Faculty of Fine Arts.

In Baroda, Mohamedi produced her classic works: small-scale, abstract geometric drawings, painstakingly composed using pencil and pen – working with the grid and creating deviations with diagonal lines. Virtually alone amongst her peers in India, who generally favoured a figurative narrative style, her lineage can be traced back to an earlier generation of Indian artists engaged with abstraction, such as V.S. Gaitonde. Other parallels for her practice can be drawn with works on paper by the American artist Agnes Martin, or with the utopian abstraction of Kazimir Malevich and the Russian Suprematists, whom she admired greatly.

Despite Mohamedi's cosmopolitanism, her work also reflects her identity as a female Indian artist working during the second half of the twentieth century, as the subcontinent, its landscapes, urban centres and Islamic heritage are often intimated in her work, particularly her photographs.

About Mohamedi's Work
Mohamedi worked in various media, including drawing, painting and photography. These works are rarely dated, but fall roughly into three different periods. Early works, which include watercolour and ink on paper, oil on canvas, collage and lithography, are lyrical and semi-abstract. Influenced in part by Japanese calligraphy, they often suggest plant life or landscapes.

In the 1970s Mohamedi moved closer to abstraction, producing serial works based on the grid on square sheets of paper, which have become a hallmark of her practice. She constructed these compositions by means of lines rendered in pen and ink and used technical drawing equipment. In her final works from the 1980s, Mohamedi abandoned the grid, and began to compose geometric shapes, combining diagonal lines, triangles and spheres, suspended on an empty ground.

Throughout her career, Mohamedi produced photographs as a visual record of the places she visited. Although she never regarded them as works in their own right, today they stand as an important part of her oeuvre.

Mohamedi's diaries, filled with reflections on her work and personal life, attest to the link between her struggle for equilibrium and a disciplined commitment to her practice. The ephemera from her studio, which includes calendars, pages of letterset and magazine cuttings, along with notes, sketches and photographic experiments, reveal her working process and the way she developed a language that is both visual and conceptual.

Mohamedi's futuristic visions around the grid resonate in time and form with the utopian aspirations of the founders of the city of Milton Keynes itself, built in the late 1960s around a precise and repetitive geometry composed of vertical and horizontal lines. The city provides a fitting context for the artist's most substantial exhibition in the UK.

This exhibition is an expanded version of Nasreen Mohamedi: Notes – Reflections on Indian Modernismcurated by Suman Gopinath and Grant Watson, and organised and initiated by the Office for Contemporary Art Norway in Oslo. It includes an additional section of works from the Artist's Estate and other collections, courtesy of Talwar Gallery, New York and New Delhi. A variation of this exhibition will travel to Lunds konsthall, Sweden.

FEVER RAY

Triangle Walks from Fever Ray on Vimeo.

FEVER RAY - TRIANGLE WALKS

Henie Onstad Art Centre presents Hovikodden Live 09: To be Heard is to be Seen

http://www.hok.no

Events:
August 30th, 2pm: Exhibition opening.
Performances by Tori Wrånes and Simona Barbera.
Stephen O'Malley.
diskJokke + Serena Maneesh.
September 6th, 2pm: Sidsel Endresen + Noxagt .
September 27th, 2pm: Susanna + Maja Ratkje.
October 4th, 2pm: Jaap Blonk performs Schwitters' Ursonate.
Stine Motland.
Performance with Tori Wrånes and band.
October 11th, 2pm: Merzbow + Void ov Voices (Attila).
October 25th 2pm: Sound poetry: Sten Hanson, Famlende Forsøk, Jordan Scott, Pär Thörn, Sarah Granskou, tekstopia and others.


Høvikodden Live 09, this year entitled To be Heard is to be Seen, investigates the voice as a medium and metaphor.

The exhibition and the concert programme focus on the body as a tool for expression, rhetoric and messages – both political and social. To be Heard is to be Seen balances on a cutting edge between three different perspectives: in the visual arts, the voice is used as a metaphor, in performance, as a theatrical effect and in music, as a medium for experimental song techniques. A number of artists and musicians explore the scope of the voice and press back the boundaries of its potential, and of how it is formed:

The Serbian artist Katarina Zdjelar's contribution to the exhibition is A Perfect Voice, a video about how the voice can be trained in order to eliminate audible defects compared to certain norms. By combining visual and historical references in her work Triplight, the Norwegian-American Camille Norment investigates the space between what we hear and what we actually perceive, while in Swing Low, the public must search for the work themselves by listening to an abstract, whistling sound based on the well-known song. Alejandra Salinas (Spain) and Aeron Bergman (USA) are represented at the exhibition with their text-animated video Wildflowers. The video blends the closely linked rhetoric of speech and the written word, while at the same time borrowing elements from billboard aesthetics and the "cut and paste" typical of experimental radio documentaries. In the form of a twelve-metre long mural, Anna Sigmond Gudmundsdottir (Norway) addresses the relationship between questions of normality, the body and those voices that do not get a hearing.

To be Heard is to be Seen presents a number of singers, poets and performance artists who incorporate space as a core element of their concerts and operate in an area somewhere between visual art and the presentation forms of traditional theatre. One of these is the voice artist Jaap Blonkfrom the Netherlands, who investigates sounds in a given space. Many of the younger artists, for example Tori Wrånes (Norway) and Simona Barbera (Italy) work within genres that are a crossover between installations, music and performance and draw on the knowledge and experience of famous singers.

The concert programme includes several different perspectives on the theme of the voice – from the extended voice techniques of Sidsel Endresen, Stine Jarvin Motland and Maja Ratkje, to metal music's use of extreme vocal techniques and stage aesthetics, represented by the acclaimed Japanese noise artist Merzbow and the vocal project Void ov Voices by Attilla (Mayhem), to jazz and rock's more traditional treatments of the voice, as performed by Susanna and Serena Maneesh. A notable events on the opening day will be a commissioned work by the American Stephen O'Malley, perhaps better known as one half of the band SunnO))).

Participating artists:
Anna Sigmond Gudmundsdottir, Aeron Bergman & Alejandra Salinas, Camille Norment, diskJokke, Famlende Forsøk, Jaap Blonk, Katarina Zdjelar, Maja Solveig Kjelstrup Ratkje, Merzbow, Noxagt, Pierre Huyghe, Serena Maneesh, Sidsel Endresen, Simona Barbera, Sten Hanson, Stephen O´Malley, Stine Janvin Motland, Susanna, Tori Wrånes and Void ov Voices.

Curators: Tone Hansen, Lars Mørch Finborud and Lasse Marhaug

THE CONCRETES

The Concretes - Kids

TAKEN BY TREES

TAKEN BY TREES - Lost and Found

TACITA DEAN

Tacita Dean is best known for her work in 16mm film, although she utilises a variety of media including drawing, photography and sound. Her films often employ long takes and steady camera angles to create a contemplative atmosphere. Her anamorphic films are shot by cinematographers John Adderley and Jamie Cairney. She has also published several pieces of her own writing, which she refers to as 'asides,' which complement her visual work. Since the mid-1990s her films have not included commentary, but are instead accompanied by often understated optical sound tracks.

Especially during the 1990s, the sea was a persistent theme in Dean's work. Perhaps most famously, she explored the tragic maritime misadventures of Donald Crowhurst, an amateur English sailor whose ambition to enter a race to solo circumnavigate the globe ended in deception, existential crisis and, eventually, tragedy ^[1]. Dean has made a number of films and blackboard drawings relating to the Crowhurst story, exploiting the metaphorical richness of such motifs as the ocean, lighthouses and shipwrecks.

Since moving to Berlin in 2000, Dean has devoted more attention to the architecture and cultural history of Germany. She has made films of such iconic structure as the Berliner Fernsehturm and the Palast der Republik. Recent projects have concerned important figures in post-war German cultural history, such as W.G Sebald and Joseph Beuys.

David Claerbout

David Claerbout

LISI RASKIN

LISI RASKIN

Born 1974 in Miami (FL), USA

Lisi Raskin addresses certain correlations between art and science with an interest that has provoked excursions to malignant locations like the Oakridge National Laboratory (TN), the Ignalina Nuclear Power Plant (Lithuania), and former East German Atomic Bunkers. During these experiences she imagines assortments of devastation while attempting to remain in contact with the logical and illogical elements of a catastrophic event. This part of her practice has informed the making of drawings, objects, videos, and installations that simultaneously quell and stimulate her fear of technological progress and pathology. She received an MFA from Columbia University School of Arts in 2003. Her work was last seen in an installation entitled Command and Control at the Park Avenue Armory during the ADDA fair. And has been exhibited internationally at institutions like Kuenstlerhaus Bethanien in Berlin, CAC in Vilnius, P.S.1 in New York, Moma in Miami and IASPIS in Stockholm.

ALEX KATZ

ALEX KATZ

EL PERRO DEL MAR

El Perro Del Mar - Glory To The World

CAMERA OBSCURA

Camera Obscura - Honey In The Sun

SLOW CLUB

SLOW CLUB - It Doesn't Have To Be Beautiful

WAVVES

WAVVES - NO HOPE KIDS

THE XX

THE XX - CRYSTALISED

Hayward Touring: Curatorial Open 2010. Call for Proposals

http://www.southbankcentre.co.uk/visual-arts/hayward-touring 

Hayward Touring invites proposals for an exhibition to be shown in four UK galleries in 2010/11. 

You don't have to be a professional exhibition maker to propose an idea. We welcome innovative proposals from artists, writers and imaginative thinkers of all kinds, as well as from people working in galleries and museums. It may be a show you have never seen but would like to; there may be a theme or tendency in contemporary art and visual culture that you think deserves to be explored in new ways. Simply describe your project in no more than 600 words, and accompany it with an initial list of artists and a selection of images. 

The exhibition will tour to: John Hansard Gallery, Southampton; QUAD, Derby; Oriel Mostyn Gallery, Llandudno; Leamington Spa Art Gallery and Museum.

The successful applicant will receive an honorarium of £3,000 plus £1,000 for research and travel expenses. S/he will work in collaboration with Hayward Touring and the participating galleries on an exhibition of around 130-150 square metres, to open in July 2010. The exhibition budget will allow for some international loans and a modest publication.

The selection panel will include the Director, Hayward Gallery, Senior Curator, Hayward Touring, an artist (to be announced) and representatives of the participating galleries.

Luc Tuymans

http://wexarts.org 

FIRST U.S. LUC TUYMANS RETROSPECTIVE DEBUTS AT WEXNER CENTER 

The first U.S. retrospective of the work of Luc Tuymans—and the most comprehensive presentation of his work to date—will debut at the Wexner Center for the Arts this fall. Jointly organized by the San Francisco Museum of Modern Art (SFMOMA) and the Wexner Center, Luc Tuymans spans every phase of the influential painter's career and features more than 70 key paintings from 1978 to the present.

Luc Tuymans (b. 1958 in Antwerp) is considered one of the most significant European painters of his generation. Interested in the lingering effects of World War II on the lives of Europeans, Tuymans explores issues of history and memory, as well as the relationship between photography and painting, using a muted palette to create canvases that are simultaneously withholding and disarmingly stark. His work might initially suggest relatively innocuous depictions of everyday life, yet there is almost always another meaning lurking beneath the surface. The artist's more recent work touches on the postcolonial situation in the Congo and the dramatic turn of world events after 9/11. 

After the Wexner Center, Luc Tuymans will appear at SFMOMA (February 6 to May 2, 2010), the Dallas Museum of Art (June 6 to September 5, 2010), the Museum of Contemporary Art in Chicago (October 2, 2010 to January 9, 2011), and the Bozar Centre for Fine Arts in Brussels (February 11 to May 8, 2011). The retrospective is co-curated by Madeleine Grynsztejn, Pritzker Director of the Museum of Contemporary Art, Chicago, and Helen Molesworth, Maisie K. and James R. Houghton Curator of Contemporary Art at the Harvard Art Museum.

"Without question, the time is ripe for an in-depth retrospective of Tuymans's work in this country," said Wexner Center Director Sherri Geldin. "We are thrilled to collaborate with SFMOMA on this exhibition, which is certain to reveal new insights into the creative, intellectual, and political forces that have propelled Luc's unique and vastly influential body of work over the last 25 years."

The exhibition catalogue will be the most comprehensive volume on the artist to date, with essays by Molesworth, Bill Horrigan, Joseph Leo Koerner, and Ralph Rugoff, with an introduction by the co-curators. 

Tuymans will be in conversation with scholar T.J. Clark November 10 at the Wexner Center.

Lead support for the exhibition is generously provided by Bruce and Martha Atwater. Significant support is provided by Carla Emil/Rich Silverstein and by Flanders House, the new cultural forum for Flanders (Belgium) in the United States.

Accommodations in Columbus are provided by The Blackwell Inn.

All Wexner Center exhibitions and related events receive support from Corporate Annual Fund of the Wexner Center Foundation and Wexner Center members, as well as Greater Columbus Arts Council, The Columbus Foundation, Nationwide Foundation, and the Ohio Arts Council. 

Luc Tuymans is represented by David Zwirner, New York, and Zeno X Gallery, Antwerp.

Sigmar Polke

http://www.hamburger-kunsthalle.de

From Clique to Pop to Politics, the three successive parts of the exhibition Sigmar Polke. Wir Kleinbürger! Zeitgenossen und Zeitgenossinnen (We petty bourgeois! Contemporaries) have a joint focus: Polke's 10-part series of works on paper entitled Wir Kleinbürger – Zeitgenossen und Zeitgenossinnen. Created between 1972 and 1976, it is largely unknown to the public and its presentation for the first time in over 30 years at the Hamburger Kunsthalle provides an unprecedented opportunity for viewers to engage with this striking body of work. The second part of the exhibition –Pop – looks at artistic explorations of pop cultural themes and images, and also features Polke's highly unusual series Original + Fälschung (Original + Forgery). As in the first part the paintings and drawings on show are supplemented by films, photographs, and stencils backed up by documentary material and source images, all of which serve to illustrate the diversity of Polke's work across a range of media.

Both Wir Kleinbürger – Zeitgenossen und Zeitgenossinnen and Original + Fälschung were produced in the period when Polke was living on a farm in the Lower Rhine region. The exhibition in Hamburg provides a unique opportunity to view these two bodies of work in a joint presentation: the juxtaposition of the series emphasizes Polke's pioneering role as a figurative painter and his influence upon the anarchic actions of younger generations of artists. In contrast to American Pop art, which by then was long since canonized, the images from everyday life in the work of Polke and his fellow artists were frequently interspersed with references to international countercultures, underground currents and political activism.

The Kleinbürger series marks a turning point in Polke's oeuvre: whereas his work from the 1960s offered ironic visual commentaries on the reality of life at the time of the 'economic miracle', here he begins to challenge social norms. He presents a panoramic view of West Germany in the 1970s, a period marked by the hippie culture, the nascent women's movement and terrorism. Individual and collective dreams and fears are critically addressed, satirized and called into question with a considerable degree of wry humour. Various ways of escaping from bourgeois surroundings are investigated – whether on a small or large scale, by way of consumerism, exoticism, sex or drug use – and possible alternatives to bourgeois existence are explored in images that switch between male fantasy and feminism, peaceful protest and armed resistance.

The presentation at the Hamburger Kunsthalle recaptures for the first time the 'anti-museum' spirit of its first showing in 1973, created for the Kunstverein Münster. In a large-scale installation featuring hundreds of mirrors and coloured neon tubes, Original + Fälschung once again combines a complex critical reflection upon images and authenticity with the glamorous culture of clubs such as the legendary Creamcheese discotheque in Düsseldorf. By directly addressing topics such as art theft and forgery as well as mythic notions of artistic authorship and authenticity, Original + Fälschung exposes the mechanisms of the art market and challenges the ideals embodied in the bourgeois conception of art. 

Over the course of the exhibition, more than 100 individual works and series drawn from international museums and private collections will be shown, revealing complex methods of appropriating, copying, sampling and reinterpreting visual material. Innocent-looking visual galaxies are transformed into nightmarish scenarios filled with dark comic figures and grotesque, ghostly apparitions. Here, the garish world of Pop comes face to face with its morbid counterpart, an encounter that is emphasized by the deliberate pairing of specific works. This is the first time since they were made that some of these images are being shown in the form originally intended by Polke.

Curators of the exhibition: 
Dr. Dorothee Böhm and Dr. Dietmar Rübel; at the Hamburger Kunsthalle: Dr. Petra Roettig

FACT (Foundation for Art and Creative Technology)

http://www.andfestival.org.uk 

Abandon Normal Devices (AND) is a major new festival, taking place across Northwest England. A catalyst for production and experimentation at the intersection of Digital Culture and New Cinema, AND invites us to consider what are 'normal' devices? And why and how should we abandon them?

AND will spill from screens and galleries into the streets with screenings, installations, online projects, public realm interventions, debates, workshops and live events. The festival has an emphasis on critique and ideas and at its heart lies a fascination with ideas about social, physical and technological norms, with artistic approaches from the playful to the downright provocative. 

AND is presented by FACT (Foundation for Art and Creative Technology) (Liverpool),Cornerhouse (Manchester) and folly (Lancaster). The debut festival will launch in Liverpool, with future editions planned in Manchester, Lancashire and Cumbria. AND offers an energetic programme across Liverpool's cultural spaces, including A Foundation, BBC Big Screens, the Bluecoat, FACT and Tate Liverpool.

2009 AND highlights:

* Apichatpong Weerasethakul Primitive
The Godfather of independent Thai cinema returns to FACT for his first solo UK exhibition. Primitive is a multi-screen video installation harmonising Weerasethakul's talent as a filmmaker and video artist.

* Carolee Schneemann
AND is proud to present an exhibition and personal appearance by the renowned American artist Carolee Schneemann, who will take over Tate Liverpool's Wolfson Gallery for the duration of the festival. Revered for her pioneering and provocative work in performance and film, Schneemann deploys her own body as both subject matter and a source of knowledge. 

* Keep It Slick - Infiltrating Capitalism with The Yes Men
In a European exclusive, AND will present the very first UK solo exhibition of one of the most important political artists of the last decade. The show will also involve opportunities for interaction with the Yes Men themselves. 

* Krzysztof Wodiczko War Veteran Vehicle
War Veteran Vehicle is a new large-scale video projection for a public space in Liverpool. Renowned for his socially engaged, politically charged work, Wodiczko is interested in the situation of soldiers who fought during recent armed conflicts and are returning to civilian life, and for the this project will work with men and women from the Northwest who have experienced active duty in the armed forces. He represented Poland in this year's Venice Biennale.

* KMA Strange Attractors - The Anatomy of Dr Tulp
Strange Attractors - The Anatomy of Dr Tulp is a study of embodied discourse; how we use our bodies to move and to communicate in a material world, and how our bodies mediate between the internal and external worlds, at a microscopic and global level. Using light projected onto the ground, it examines the relationship between the motion of real, inanimate, and virtual bodies. 

* DJ Spooky presents Rebirth of a Nation 
AND joins forces with Culture Liverpool and Walk the Plank to present the finale of On the Waterfront - a season of summer events, located at Liverpool's Pier Head and Albert Docks. Transforming the new Liverpool Museum into a gigantic cinema screen, AND will present a night of remixed and remastered moving image, including a unique version of Rebirth of a Nation, DJ Spooky's audiovisual remix of DW Griffith's infamous Birth of a Nation.

* Action Diana by The Centre of Attention
Artists The Centre of Attention have been creating a cover version of a classic feature film shot for shot using members of the public as the stars. Experimenting with the notion of re-appropriation and re-mix, The Centre of Attention push participation into uncomfortable realms, questioning both the gallery as an exhibition space, and the poverty of video art in relation to cinema.

Isa Genzken

http://www.museum-ludwig.de

"Open, Sesame!" Those were the magic words that Ali Baba uttered in order to enter the mountain cave where the 40 thieves kept their rich booty stashed away. In this tale from The Thousand and One Nights, scintillating splendour and staunch loyalty are intimately intertwined here with unprincipled destruction and envy. 

Open, Sesame! This slogan has been taken by sculptor Isa Genzken as the title for her most comprehensive solo show to date, which Museum Ludwig has developed in cooperation with the Whitechapel Gallery in London. This retrospective offers for the first time the opportunity by a selection of over 60 works to trace Isa Genzken's artistic development from her beginnings to her most recent work, and to present the full complexity of the themes and formal issues she investigates. 

From the aerodynamic wooden sculptures with incisions, which she made in the 1970s, to her recent frail installations in space, her works come across as a symbol of the tightrope act between beauty and destruction, grace and brutality that we all perform in our lives. With the surrounding social, political and economic conditions constantly in mind, Genzken reveals the unstable, bewildering and contradictory sides of our knowledge and perceptions by questioning things that seem quite incontrovertible.

In her sculptural works, Genzken reveals her ceaseless scrutiny of the spectrum of meaning that is to be found in the three-dimensional object. With her ellipsoid sculptures, her architectural plaster and concrete pieces of the 1980s, and her recently created works done with consumer goods and everyday objects, she remains within the coordinates of a traditional approach to sculpture. At the same time, however, her objects distinguish themselves by their fragility, their imperfection and their openness, which creates a highly charged relationship to the surrounding space and hints at an autobiographical, psycho-emotional dimension. Genzken's works present a challenge both to the achievements of modern sculpture as well as to the contemporary concepts of the work rooted in Minimal Art and Conceptual Art. This has allowed her to assume a position in the current art discourse that is as authoritative as it is unusual. 

Wiebke Siem

http://www.nmn.de 

Wiebke Siem is best known for extensive groups of works in which she translates everyday items such as clothing, toys, wigs and bags into finely crafted – and often oversized – objects made of wood or fabric. 

Since 2005, the Berlin-based artist has been developing a new series of works that hark back to experiences and fantasies from her own childhood. She assembles articles of furniture, apparently ethnological objects and goblin-like cloth figures into psychologically charged spatial installations, combining the bizarre figures (mostly made from fabrics such as loden, a traditional cloth often used for menswear) with prewar and 1950s home décors. 

Siem's household scenarios are both homely and uncanny; they have an oppressive quality but are above all humorous and absurd. In her choice of forms the artist draws upon and transforms literary motifs as well as themes from classical modernist and contemporary art. 

These new works are being shown for the first time in the exhibition Die Fälscherin (The Forger). Installed in a specially designed suite of rooms, the new presentation combines aspects of a private environment, a stage-like backdrop, an archive and a monumental single piece. 

The title of the exhibition is borrowed from one of Siem's installations, in which the artist as forger "obsessively produces artefacts that are not authentic, that are not what they appear". 

Barbican Art Gallery

http://www.barbican.org.uk/careers

An exciting opportunity has arisen for a creative and dynamic curator to join Barbican Art Gallery, a leading London venue for the presentation of modern and contemporary art, photography, architecture and design exhibitions. Part of the Barbican Centre, Europe's largest arts venue, the Gallery's activities take place in the context of a widely acclaimed programme of international music, dance, theatre, visual arts and cinema. 

As curator, you will work with the Head of Art Galleries and Senior Curator to deliver our world-class exhibition programme. You will contribute imaginative and innovative ideas to the Gallery's programming discussions; you will have a flair for devising authoritative exhibitions which also appeal to wide audiences; and you will work to build the Gallery's relationships with artists and institutions in Britain and abroad. 

We are looking for a curator with a thorough knowledge of 20th and 21st century art and/or design and architecture. You will have substantial experience curating and organising major loan-based exhibitions, in commissioning and editing publications, and in leading teams to deliver complex projects. Outstanding interpersonal and communication skills are essential. 

For details and to apply, visit http://www.barbican.org.uk/careers

WE HAVE BAND

We Have Band - You Came Out

Wave Machines

Wave Machines - I Go I Go I Go