ArtSlant - Openings & events en-us 40 Roman Vishniac - International Center of Photography (ICP) Museum - January 18th, 2013 10:00 AM - 8:00 PM <p><em>Roman Vishniac Rediscovered</em> brings together four decades of work by an extraordinarily versatile and innovative photographer for the first time. Vishniac (1897–1990) created the most widely recognized and reproduced photographic record of Jewish life in Eastern Europe between the two World Wars. These celebrated photographs were taken on assignment for the Jewish Joint Distribution Committee, the world's largest Jewish relief organization, from 1935–38, yet this exhibition follows the photographer's long and accomplished career from the early 1920s through the 1950s.This exhibition introduces recently discovered and radically diverse new bodies of work by Vishniac, and repositions his iconic photographs of Eastern Europe within the broader tradition of 1930s commissioned social documentary photography.</p> Sun, 25 Nov 2012 23:35:48 +0000 Chim - International Center of Photography (ICP) Museum - January 18th, 2013 10:00 AM - 8:00 PM <p>This retrospective exhibition traces the development of Chim’s career as an intellectually engaged photojournalist, placing his life and work in the broader context of 1930s–50s photography and European politics. Born Dawid Szymin in Warsaw, Chim (who after WWII published under the name David Seymour) began his career in 1933 photographing for leftist magazines in Paris. In 1936, along with his friends Robert Capa and Gerda Taro, Chim traveled to Spain to photograph the civil war in support of the Republican side, publishing regularly in all the major European and American picture magazines. Chim was an astute observer of 20th-century European political affairs, workers' rights, and culture, from the beginnings of the antifascist struggle to the rebuilding of countries ravaged by World War II. The exhibition will showcase over 120 mainly vintage black-and white and color prints, publications in which his work originally appeared, contact sheets, and personal material.</p> Sun, 25 Nov 2012 23:40:09 +0000 - ISE Cultural Foundation - January 18th, 2013 6:00 PM - 8:00 PM <p>ISE Cultural Foundation is pleased to present solo exhibition "SHYU Ruey Shiann: Poetic Rationality, Warm Coldness", curated by Sean C. S. Hu. <br /> <br /> Poetic Rationality, Warm Coldness is an exhibition of three kinetic artworks created in different stages of time by Taiwanese artist, SHYU Ruey Shiann, and they are Life and Death, River of Childhood, and Trace. Through the exhibition, an opportunity is presented to the audience to understand the artist's creative context and concepts and to get a glimpse of his internal world and his dynamic creative aesthetics. <br /> <br /> SHYU is known for his art created with mechanical elements. He uses his hands to turn complex mechanical concepts and installations into simple and concise artistic expressions, as cold hard industrial materials are transformed into abstract and warm three-dimensional sculptures. Binary contrasting relationships, such as rigid/soft, cold/warm, rational/emotional, give SHYU¡Çs art a dynamic and conflicting power that is also touching and poetic at the same time. <br /> <br /> The artworks included in this exhibition distinctively represent the artist's concerns for the nature and our environment and also his nostalgic recollections of childhood memories. With the machines' slow movements, the artworks resemble old gramophones or time machines that are able to transport us back to beautiful times in the past, as a sense of resonance echoes in life's shared experiences. Life and Death is the first artwork the audience encounters at the exhibition, and with this simple installation, the artist intends to express the idea that all living beings on Earth are equal and human behaviors have caused drastic ecological changes; before the extinction of more life, please protect and respect the world we all live in. The second artwork, River of Childhood, is an installation of small boats. The electric current guides the audience on an expedition back in time to search for nostalgic memories. While reminiscing the changing sceneries before us, we are prompted to question whether the progression of time has taken away our original hopes and dreams? With the last artwork, Trace, the moving charcoals of the piece appear to be dancing and swinging, and with each stroke and line, traces are left behind as marks of time. Just as time has also inadvertently left its traces in life, from which, an internal landscape of the self is thereby formed. <br /> <br /> SHYU Ruey Shiann is one of the important pioneers in Taiwan's contemporary kinetic art. He uses machines to express emotional burdens and little by little recounts reflections he has for life and nature, as new significance is given to the medium of metal. SHYU gained recognition from the art world in France during the time he spent there in the 90's. In 1997, he was the first place recipient of the French National Senior Diploma in plastic expressions. In the recent years, he is frequently invited to participate in international exhibitions, including Kinetica Art Fair in Ambika, London, Lunarfest in Harbour Front Centre, Toronto, and Tenri Cultural Institute, New York. In 2012, SHYU was invited to present his solo exhibition, Distant Rainbow, at Taipei Fine Arts Museum, which received many positive critical reviews. </p> Wed, 26 Dec 2012 00:42:38 +0000 Fulvio Testa - Jill Newhouse Gallery - January 18th, 2013 5:00 PM - 7:00 PM <p>Jill Newhouse Gallery and Aralia Press<br /> invite you to the launch of</p> <p>The Living and the Dead</p> <p>Poetry by Mario Luzi</p> <p>Translated by Dana Gioia <br /> Illustrations by Fulvio Testa</p> <p>Mr. Gioia and Mr. Testa will be on hand to sign copies of the book.</p> <p>An exhibition of Master Drawings will be on view.</p> Fri, 11 Jan 2013 03:15:25 +0000 Camilo José Vergara - New York Historical Society - January 18th, 2013 10:00 AM - 8:00 PM <p>Since the 1970s Camilo Vergara has been traveling across the United States photographing and thus documenting hand-painted murals of Dr. Martin Luther King Jr. as they appeared on the walls of establishments such as car repair shops, barbershops, and fast food restaurants in city streets and alley ways. The folk art portraits have expressed how the inner-city residents saw the slain civil rights leader—at times a statesman, a hero, a visionary, or a martyr. Vergara also discovered that these images were often based on iconic photographs of Dr. King but that, depending upon the neighborhood where they were created, the portraits could take on the likeness of Latinos, Native Americans, or Asians.</p> <div class="body"> <p>Vergara remarked about his work that “most murals and street portraits of Dr. King are ephemeral. Paint fades, businesses change hands and neighborhood demographics shift. Gradually, images reflecting the culture and values of poor communities are lost….Often, my photographs are the only lasting record of these public works of art.” This exhibition offers the opportunity to study the manner in which Martin Luther King, Jr. has reached into the hearts of artists from New York to Los Angeles, Chicago to Detroit, and how the artists’s images have depicted the soul of the great civil rights leader in a manner that reaches out to communities nation-wide.</p> <p>Camilo Vergara will donate all of the works in <em>The Dream Continues: Photographs of Martin Luther King Murals by Vergara</em> to the New-York Historical Society after the close of the exhibition.</p> </div> Mon, 26 Nov 2012 00:44:54 +0000 Group Show - Artists Space: Exhibitions - January 19th, 2013 6:00 PM - 8:00 PM <p>In his essay accompanying the 1977 exhibition <em>Pictures</em> at Artists Space, and in a subsequent text published by <em>October</em>in 1979, the art historian Douglas Crimp introduced the work of a generation of artists, and their use of “quotation,” “excerptation,” “framing,” and “staging,” that has since become synonymous with the postmodern relationship to pictures.</p> <p><em>Frozen Lakes</em> examines the prominence that these artistic strategies have for a generation of artists born after <em>Pictures</em>. It equally attests to the changing nature of critical inquiry within today’s economy of image production, and the shifting relationship between information and meaning.<br /><br />The temporalities that Crimp identified in <em>Pictures</em> – “the staged tableau,” “the freeze frame,” “the historical fragment,” and “the fascinated, yet perplexed gaze” – sought to highlight the picture as a “signifying structure of its own accord,” usurping the reality that it claims to interpret. The contemporary experience of images is saturated with a heightened notion of temporality: signifying structures circulating and performing through networks of value, desire and exchange. The sense that pictures occupy very distinct places in culture, and reveal a vertical “strata of representation,” has been replaced by fluid, maybe even liquid, modes of accumulation and aggregation.<br /><br />The artists featured in <em>Frozen Lakes</em> shift their attention from the dialectics of production towards the conditions of circulation. Here, the image can be seen as a series of gestures; as a vessel inhabited by, as much as it conditions, behaviors. Filmmaker and writer Alexander Kluge has used the phrase “frozen lakes” to speak of montage, as a means to create “still images” as a technique of focusing.<br /><br />By addressing the conditions of circulation as a sphere of exchange and value attribution, and as a site for the formation of desire, Frozen Lakes focuses on the blurred states between opacity and transparency. From the mediations between information leaks and brand images, to the rendering of digital surfaces as an extension of corporeality, these processes question the experience of “presence” as integral to the “establishment of meaning.”</p> <p>Contributing artists: Shadi Habib Allah, Ed Atkins, Banu Cennetoglu, Aaron Flint Jamison, Tobias Kaspar, Metahaven, Ken Okiishi, Charlotte Prodger, James Richards, and Slavs and Tatars.<br /><br /></p> <p>Shadi Habib Allah (born 1977, Jerusalem, Israel) currently lives and works in New York, having completed his MFA at Columbia University in 2010. His recent solo projects include a presentation at Art Statements, Art Basel 43 (2012); <em>The King &amp; The Jester</em>, Reena Spaulings, New York (2010); and<em> An Ongoing Tale</em>, Al-Hajaj Gallery, Ramallah (2006). He has also shown in several international venues including Al Hoash, Jerusalem (2012); Maraya Art Centre, Sharjah (2011); Venice Biennale, Venice (2009); and Tate Modern, London (2007). In 2011 he was awarded a grant from the Louis Comfort Tiffany Foundation.</p> <p>Ed Atkins (born 1982, United Kingdom) lives and works in London. His recent solo projects include Chisenhale Gallery, London (2012); Bonner Kunstverein, Germany (2012); Frieze Film Commission (2011); Tate Britain (2011); and Cabinet Gallery, London (2011). Atkins has shown in several international group shows including <em>A Dying Artist</em>, ICA, London (2011); <em>Time Again</em>, Sculpture Center, New York (2011); and <em>An Echo Button</em>, with James Richards and Haroon Mirza, commissioned for Performa 2011. He is a recipient of the 2012 Jerwood / Film &amp; Video Umbrella Award.</p> <p>Banu Cennetoglu (born 1970, Ankara, Turkey) lives and works in Istanbul. Recent solo exhibitions include<em> Guilty Feet Have Got No Rhythm</em>, Kunsthalle Basel (2011) and Sample Sale – 2010 BC, Rodeo Gallery, Istanbul (2010), and she has shown at institutions including Nicosia Municipal Arts Centre, Cyprus (2012); Kumu Art Museum, Estonia (2011); Arter, Istanbul (2010); La Coleccion Jumex, Mexico (2008); and the Walker Art Center, Minneapolis (2007). In 2008 she co-curated the exhibition <em>Masist Gül</em> at Schinkel Pavilion as part of the 5th Berlin Biennial, and in 2009 co-represented Turkey at the Venice Biennale together with Ahmet Ögüt. In 2006 she co-founded BAS, a space focusing on artist books and other printed media works.</p> <p>Aaron Flint Jamison (born 1979, Montana, USA) lives and works in Portland, OR, where he is a founder of the art center Yale Union. He has been included in exhibitions at the Museum of Modern Art, New York (2012); Center d’édition contemporaine Geneva (2011); Culturgest, Porto (2011); castillo/corrales, Paris (2011); Open Satellite, Seattle (2010); and Midway Contemporary, Minneapolis (2010) among others. Jamison co-founded the artist-run center Department of Safety (2002-2010) in Anacortes, WA, and is the founder and editor of <em>Veneer Magazine</em>.</p> <p>Tobias Kaspar (born 1984, Basel, Switzerland) lives and works in Berlin. His installation <em>Bodies in the Backdrop</em> has recently been shown at Galerie Peter Kilchmann, Zurich (2012) and Halle für Kunst, Luneburg (2012), along with solo exhibitions at Alex Zachary Peter Currie, New York (2011); Silberkuppe, Berlin (2011); Künstlerhaus Stuttgart (2009); and CCS Skopje, Macedonia (2008). Kaspar studied at the Academy of Fine Arts Hamburg, and Städelschule, Frankfurt, and has participated in several group shows including <em>So Machen Wir Es</em>, Kunsthaus Bregenz (2011) and <em>How to Work</em>, Kunsthalle Basel, Switzerland (2011). He is a founding editor of <em>PROVENCE</em> magazine.</p> <p>Metahaven (founded 2007, Netherlands) is an Amsterdam based studio for design and research founded by Vinca Kruk and Daniel van der Velden. In 2010 they released <em>Uncorporate Identity</em>, a book on politics and visual identity published by Lars Müller. Recent solo exhibitions include Stadtstaat, Künstlerhaus Stuttgart/Casco (2009), and Affiche Frontière, CAPC musée d’art contemporain de Bordeaux (2008). Metahaven has lectured widely and participated in several group exhibitions including <em>The New Public</em>, Museion Bolzano, Italy (2012); <em>Graphic Design: Now In Production</em>, Walker Art Center, Minneapolis (2011); Gwangju Design Biennale, Korea (2011); and Manifesta 8, Murcia, Spain (2010).</p> <p>Ken Okiishi (born 1978, Iowa, USA) lives and works in New York and Berlin. He has recently presented solo exhibitions at Take Ninegawa, Tokyo (2012); Alex Zachary Peter Currie, New York (2010); and Mehringdamm 72, Berlin (2010). In 2011, his video <em>(Goodbye to) Manhattan</em> was screened at Anthology Film Archives, New York, and in 2009 he was included in Performa 09, New York. Okiishi has participated in numerous group exhibitions including Based in Berlin, Berlin (2011); <em>One is the loneliest number</em> (with Nick Mauss), Institute of Contemporary Art, Philadelphia (2011); <em>In the Middle of Affairs</em>, Künstlerhaus Stuttgart (2010); Camden Arts Centre, London (2009); and Contemporary Art Museum St Louis (2009).</p> <p>Charlotte Prodger (born 1974, Bournemouth, England) lives and works in Glasgow. Recent solo exhibitions include Studio Voltaire, London and Intermedia, Glasgow (both 2012); Kendall Koppe, Glasgow (2011); and a two-person exhibition at Essex Street, New York (2012), as well as several group shows including ICA, London (2012); Glasgow International Festival of Visual Art (2012); Hotel, London (2012); and Transmission, Glasgow (2011). Prodger is a member of the collaborative writing group Brown Study, and was a founding member of the band Muscles Of Joy. Her 16mm film works have been commissioned by Artangel and Film London, and written works published by 2HB (CCA), Market Gallery, High Horse and Victor &amp; Hester.<br /><br />James Richards (born 1983, Cardiff, Wales) lives and works in London. Solo exhibitions include a residency at CCA Kitakyushu, Japan (2012); Chisenhale Gallery, London (2011); Rodeo Gallery, Istanbul (2011); <em>Art Now</em> (with Clunie Reid), Tate Britain (2010); Tramway, Glasgow (2009) and Swallow Street, London (2009). Recent group exhibitions include <em>Younger than Jesus</em> at the New Museum, New York (2009) and <em>Nought to Sixty</em> at ICA London (2009). Richards has curated film programs and screenings at Serpentine Gallery, London (2010); BFI, London (2010), X-Initiative, New York (2009); and Whitechapel Gallery, London (2007). He is the recipient of the 2012 Jarman Award.<br /><br />Slavs and Tatars (founded 2006) is a collective whose work spans several media and cultural registers. Solo exhibitions in 2012 include <em>Beyonsense</em>, Museum of Modern Art, New York; <em>Khhhhhh</em>, Moravian Gallery, Brno; and <em>Not Moscow, Not Mecca</em>, Secession, Vienna, in addition to group shows including <em>The Ungovernables</em>, New Museum, New York (2012); the 9th Gwangju Biennial, Korea (2012); and Sharjah Biennial 10, Sharjah (2011). In 2013 Slavs and Tatars will have solo presentations at Kunstlerhaus, Stuttgart, and REDCAT, Los Angeles.</p> Mon, 03 Dec 2012 22:33:06 +0000 Tescia Seufferlein - English Kills - January 19th, 2013 6:00 PM - 9:00 PM <p>English Kills Art Gallery is pleased to announce the opening of Stratum, the first solo show by artist Tescia Seufferlein.  Stratum combines clothing and painting into an emotional sculptural assemblage of new work by the artist.  It will be open to the public from January 19th until February 17th.      </p> <p>Stratum displays sculptural paintings that utilize iconic clothing to embody a single emotional state through an abstract form.  The evocative, draping forms in Seufferlein’s work capture the colliding moment of beautiful optimism met with daunting pessimism.  This exhibition is an accumulation of fabric and clothing, along with a dramatic color scheme that provokes a haunted interiority.  These sculptures are a collision of perfection and decomposition.  </p> <p>Specific elements of Stratum include three sculptural wedding gowns hanging from the ceiling, forcing the viewer to walk amongst them, peering through what remains of each.  The symbol of the white gown representing perfect bliss in a single moment, is in contrast and competition with the distressed and tarnished nature of it.  The ‘Test Pit’ includes 20 miniature tank tops that descend in gradation from completely clean to entirely destroyed. These tiny tanks, trapped like butterflies between glass symbolize growing old, starting out perfect and stain free, ending deteriorated and unrecognizable.  </p> Sat, 22 Feb 2014 15:34:32 +0000 Helmut Dick, Karni Dorell, Jennifer Protas, Roel van Timmeren - FiveMyles - January 19th, 2013 6:00 PM - 8:00 PM <div title="Page 1" class="page"> <div class="layoutArea"> <div class="column"> <p>Four artists have collaborated to present an interpretation of the urban landscape in a changed and global world. The artists have based their work for this exhibition on John Brinckerhoff’s theories that we have moved from a solid to a fluid phase of modernity in which nothing keeps its shape. A loading dock constructed with sugar cubes, a collaborate sculpture made by three of the artists, actualizes the idea behind the Brinckerhooff’s theory. </p> <div title="Page 1" class="page"> <div class="layoutArea"> <div class="column"> <p><strong>Helmut Dick</strong>’s work examines man-made landscapes. At FiveMyles he presents three photographs of his Haute Cuisine Series. This series of exclusive meals is based on well-known press photos of destroyed buildings and landscapes, notably Hiroshima and Tschernobyl. The artists has re-built these scenes with food stuff on plates, ready to serve.</p> <p><strong>Karni Dorell</strong>'s photo and video images of landscape focus on populated urban places - city streets, war zones, and mob gathering, small milling crowds and crowded areas.</p> <p><strong>Jennifer Protas</strong>'s drawings and 3-dimensional flatworks combine multiple, overlapping horizon lines. Her landscapes contain industrial and architectural structures in ruins combined with vast, unoccupied places.</p> <p><strong>Roel van Timmeren</strong>’s video Golden, a three-part ballad taking place on a floating canal boat, is juxtaposed with three drawings of drowning trailers in a landscape of water. </p> </div> </div> </div> </div> </div> </div> Mon, 31 Dec 2012 15:24:42 +0000 Tim French, Stefano Mitrione, Slowinski, John Wotipka - Limner Gallery - January 19th, 2013 4:00 PM - 6:00 PM Tue, 15 Jan 2013 23:20:39 +0000 Imo Nse Imeh, Sol Sax, Margaret Rose Vendryes - Rush Arts Gallery - January 19th, 2013 3:00 PM - 5:00 PM <p>This cogitation over diaspora as a feeling, a history, or place, is an engagement with the process of mapping an aesthetic connection with home. <i>Dreamed My People Were Calling</i>, <i>and African Diva Project</i>, are exhibitions of visual interventions; pulsations of sorts that capture a deep nostalgia for home shared by some of the most moving artists of the black diaspora. Philanthropist, poet, collector, and curator of the exhibition Daniel Simmons seeks to tie together the ancestral and contemporary forms of artisans of African descent. The title of the exhibition is taken from the title of Simmons' book of poetry, also aptly titled<i> I Dreamed My People Were Calling But Couldn't Find My Way Home.</i></p> <p>Imo Imeh, Sol Sax, and Margaret Rose Vendryes are uncovering the inexplicit narratives of place, emotion, and cultural memories lived and imagined. In this sense, the artists are rendering an aesthetic conundrum of separation as connectedness. How are black diaspora artists constructing notions of home in their works? The return home does not only suggest travel back to the metropole, but in art practice suggests expressions of a particular consciousness of home rooted in diaspora. The narratives of the black diaspora are ones associated with trauma, loss, and fissure, but are also complicated with acts of agency, exultation, and celebration. Imeh, Sax, and Vendryes use their practices to draw upon influences in African visual and material culture, and in turn, map connections to the lived experience of blacks on either side of the Atlantic.</p> <p>Imo Imeh’s large scale figurations of black females, which he refers to as “fattened brides”, weave together stories of Ibiobio folklore and histories of racial violence and lynching practices in19th century America. Imo’s brides, bewildering as they are beautiful, connect viewers to the ritual of mbopo, a ceremony in which young women in Ibiobioland Nigeria are secluded in “fattening houses.”  It is in these structures that the brides undergo “corporeal modification”, and are transformed into beautifully adorned and powerful beings, learning the secrets of womanhood and childbirth. Imeh’s paintings encapsulate a compelling visual language that reconfigures symbols of beauty, trauma, and power.</p> <p>Similarly, the artistic practice of Sol Sax conveys a concern with language as a means to reconnect distinct culturalisms of African Americans and Yoruba, Bantu, and other spiritual forms rooted in West and Sub-Saharan Africa. His sculptures and assemblages of found objects, milk crates, and ceramics almost move towards an aesthetic of black diaspora iconography and idolatry; they are hybrid structures fusing together spirituality, wordplay, and history. Sol appropriates the accoutrement of the built environment, cinder blocks, baseball bats, tennis balls, and water cans, among many other things, to convey hybrid narratives infused with elements of hip hop and diasporic folklore. His objects articulate the language of separateness as connectedness. They reside like shrines in a domicile of dislocation.</p> <p>In Margaret Rose Vendryes’ African Diva Project, powerful black female icons don masks of regal deities and ancestors. Appropriated from the album covers of singers like Diana Ross, Betty Davis, Lena Horne, and Cassandra Wilson among others, Vendryes has allowed her figures to reclaim their agency, dismantling Western ideals of beauty, confronting the viewer with their strength, sexuality, and confidence. Vendryes’ work is as invigorating as it is intentional; there is a distinct historical lineage of the objectification female bodies, and in particular black female bodies. From the life of Saartjie Baartman, to Picasso’s landmark painting Les Desmoiselles d’Avignon, to contemporary presentations of black women in music videos and magazines, Vendryes’ visual expressions counter the historical representational modality of corporeal blackness and femaleness. Her women assert their agency by reaching back to an ancestral past.</p> <p>Imeh, Sax, and Vendryes are within the great company of artists like Aaron Douglass, Elizabeth Catlett, and Thornton Dial, who have long established ways to re-envision a spiritual, emotional, and historical engagement with diaspora. These objects share a historical trajectory of an disinterest in being grounded in any one place. They can only point towards a consciousness of omni-location, a metaphysical space of geographic universality and cultural specificity.</p> <p><b>-Jessica N. Bell</b></p> Mon, 14 Jan 2013 23:47:50 +0000 Rabe' A Ballin, Ann 'Sole Sister' Johnson, Deltita Martin, Lovie Olivia - Corridor Gallery - January 20th, 2013 4:00 PM - 6:00 PM <p>Roux curated by Danielle Burns Artists Include: Rabe' A Ballin, Ann 'Sole Sister' Johnson, Deltita Martin, and Lovie Olivia, visiting from the Houston Museum of Africa American Culture</p> Tue, 08 Jan 2013 03:08:40 +0000 Peter Wächtler - Ludlow 38 - January 20th, 2013 3:00 PM - 6:00 PM <p>MINI/Goethe-Institut Curatorial Residencies Ludlow 38 is pleased to present <b>Peter Wächtler</b>'s first exhibition in the United States. <i>B.A.C.K.</i> will feature new work by the artist. <br /><br />Peter Wächtler creates narrative works in a wide range of media. The vivid language of his stories finds its counterpart in expressive drawings, both often transposed onto other materials, such as ceramic reliefs or theater-like film. The first-person narrators of Wächtler's stories occupy positions of contemplative distance and passivity towards the world. They often speak from the vantage point of death when they muse about their lives, recalling formative experiences and decisive moments. Even those that are "alive" seem paralyzed—functioning or malfunctioning within their world, but unable to act upon it. As opposed to the myths of personality development, fate, destiny, and so on, which Wächtler's stories mime, the social totality here creeps into the picture. Subjects appear as products of social formations, their codes and rituals denaturalized. In Wächtler's stories, emptied-out phrases from the repertoire of communication agencies and shallow love songs are made to speak beautifully of a world that is not, and critical theory is as good a medium for territorial fights as fists or a kryptonite bicycle lock. <br /><br /><b>Peter Wächtler</b> (*1979, Hannover) lives and works in Brussels. Recent solo exhibitions include <i>Studium Maximum</i>, Reisebürogalerie Diko-Reisen, Cologne (2012); <i>Das Kino im Alten Mühlenviertel</i>, Galerie Lars Friedrich, Berlin (2012); and <i>The Set</i>, Etablissement d'en Face, Brussels (2011). He has also shown in group exhibitions such as <i>Un-Scene II</i>, Wiels Centre d'Art Contemporain, Brussels (2012); <i>Anfang gut. Alles gut.</i>, Basso, Berlin/Kunsthaus Bregenz (2011); <i>Melanchotopia</i>, Witte de With Center for Contemporary Art, Rotterdam (2011); and Herzliya Biennial (2011). Peter Wächtler is a member of Etablissement d'en Face and a co-founder of the exhibition space Sotoso in Brussels.</p> Sat, 23 Feb 2013 03:55:35 +0000 Cyprien Gaillard - MoMA PS1 - January 20th, 2013 12:00 PM - 6:00 PM <div> <p>Cyprien Gaillard (b. 1980, Paris) addresses in his work the relationship between architecture and nature, evolution and erosion, and geographical sites and psychological states.  Using visual strategies that juxtapose pictorial beauty with elements of sudden violence, destruction, and popular culture, Gaillard points to the precarious nature of public space, social ritual, and civilization using a variety of artistic mediums that range from painting to photography, film, and video.</p> </div> <div> <p>Combining minimal composition, a romantic visual sensibility, and a youthful, anarchic spirit, Gaillard’s work displays a personal vision or reading of landscapes and cities, whether he trains his gaze upon abandoned golf courses, crumbling 1960s urban high-rises, land art sites, explosive building demolition procedures, or public monuments.  He invests these sites with new traits through his interventions, resulting in architectural travelogues dense with layers of meaning and complexly suggestive symbols, as well as an incisive examination of the foundations and inventions of civilizations, both ancient and modern, revealing their often simultaneously seductive and alienating features. </p> </div> <div> <p>Gaillard is perhaps best known for his two films, <em>Cities of Gold and Mirrors </em>(2009) shot in Cancun, Mexico, which combines images of Mayan ruins with the golf courses, mega-resorts, and tourists that now saturate the area, and <em>Artefact</em> (2011), a reflection on the myth of Babylon that takes form through a montage of scenes from post-conflict Iraq interwoven with images of the ancient civilization’s antiquities, none more famous perhaps than the Ishtar Gate, reconstructed in an austere gallery of the Pergamon Museum in Berlin in the 1930s.  These thematic concerns are borne out through the artist’s material itself; <em>Artefact </em>(2011) was shot on the artist’s iPhone, and the digital video was transferred to the older 35mm format in which the work is exhibited as a continuous loop.  The work highlights the fragility of the cinematic material, which wears out and frays as it is projected over the course of the exhibition period, mimicking the cyclically endless nature of civilizations’ periods of growth and decline. Gaillard is also well-known for his <em>Geographical Analogies </em>(2006) series, composed grids of Polaroids that are placed in visual correspondence with one another, presenting impressionistic inventories of landscapes and entropic architectural structures that connote psychologically, emotionally, and viscerally. The photographs, like much of the artist’s work, capture images of ancient ruins, abandoned bunkers, and graffiti-covered urban structures– in short, sites that are unified by their shared states of physical change, erosion, or decay over time. </p> </div> <p>These works encapsulate Gaillard’s audacious attempts at recuperating the past in the name of a devalued present. Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, acting as a kind of archaeologist of contemporary history.</p> <p></p> <p>The artist's first solo exhibition in New York is comprised of over 80 works, including five major cinematic works and two site-specific works made in New York on the occasion of his MoMA PS1 presentation. In <i>Cities of Gold and Mirrors </i>(2009), shot in Cancun, Mexico, images of Mayan ruins are interspersed with the golf courses, mega-resorts, and tourists that now saturate the area, as incensed adolescents guzzle tequila with the same elated fervor that characterizes a ritualistic dance performed by a gangster on the ruins of El Ray.</p> <p>Shown for the first time in the U.S., Gaillard's monumental work <i>Artefacts</i> (2011) imparts a reflection on the myth of Babylon takes form through a montage of scenes from post-conflict Iraq interwoven with images of the ancient civilization's antiquities, none more famous perhaps than the Ishtar Gate, reconstructed in an austere gallery of the Pergamon Museum in Berlin in the 1930s. Gaillard echoes this anachronism in the artwork's material itself <i>Artefacts</i> (2011) was shot on the artist's iPhone, and the resulting digital video was transferred to an older 35mm format, in which the work is exhibited as a continuous loop. This scheme highlights the fragility of an outmoded cinematic material, which wears and frays as it is projected over the course of the exhibition period, mimicking the cyclically endless nature of civilizations' periods of growth and decline, and also the artist's fascination in objects that are at once obsolete and eternal.</p> <p>Gaillard is perhaps best known for his <i>Geographical Analogies</i> (2006) series, composed grids of Polaroids that are placed in visual correspondence with one another, presenting impressionistic inventories of landscapes and entropic architectural structures that connote psychologically, emotionally, and viscerally. The photographs, like much of the artist's work, capture images of ancient ruins, abandoned bunkers, and graffiti-covered urban structures- in short, disparate sites that are unified by their shared states of physical change, erosion, or decay over time.</p> <p>Combining elements of the found, the photographic, the cinematic, the architectural, and the social, Gaillard provokes visual or associative connections between ancient ruins and neglected contemporary spaces, attempting to recuperate the past in the name of a devalued present.</p> Sun, 03 Feb 2013 23:03:24 +0000 Alessandro Brighetti - Scaramouche - January 20th, 2013 6:00 PM - 8:00 PM <p align="center"></p> <p>  <img src="" alt="Alessandro Brighetti, Psilocybe, 2012, video 7:47 min. looped, videosculpture in artist's frame, 13 x 21 x 2 in" />    </p> <p><img src="" /></p> <p>presents</p> <p><b>ALESSANDRO BRIGHETTI</b></p> <p><i>narchitecture</i></p> <p> curated by Lara Pan</p> <p> </p> <p><span style="text-decoration: underline;">OPENING:</span>   January 20,  6 - 8pm</p> <p><span style="text-decoration: underline;">EXHIBITION DATES:</span>   January 20 - March 10, 2013</p> <p> </p> <p>Scaramouche is pleased to present the first U.S. exhibition of artist Alessandro Brighetti. <i>Narchitecture</i> casts the individual parts of the human body as unique living entities. Brighetti's approach to his ferrofluid sculptures opens a new door to the understanding of anatomical and physiological readings of the body as a complex and dynamic system.</p> <p> </p> <p>In medicine, ferrofluids are used as contrast agents for magnetic resonance imaging. In this case, the ferrofluids are composed of iron oxide nanoparticles called SPION (Superparamagnetic Iron Oxide Nanoparticles). Brighetti's almost shamanic approach to contemporary sculpture refers to a study of magnetism and its invisible forces.  Thus, biology as much as chemistry and physics, guide his thinking about the sculpture.  "By using both organs and liquid, they are forged by inner and natural tensions. They are obviously natural architectures, which then melt themselves into a new one" says Brighetti. The sculpture becomes a fictional entity, with the physical interaction between movement and magnetism resulting in harmonious, organic and hypnotic forms.</p> <p> </p> <p>In considering the idea of organs, such as heart, brain or uterus, functioning by themselves like self-sufficient organisms, it is almost impossible not to mention the concept of the human body as a "fractal creation," that which John Briggs reveals in <i>Fractals: The Patterns of Chaos</i>.  Scientists researching brain activity are unsatisfied with anything less than a chaotic theory of the mind.  A primary example of chaos in the human body is found in the beating of the heart, which to our ears seems to occur with a periodic, "clock-like" regularity. The architecture of the human body is of major scientific importance and reveals that, creative processes aside, the benefits of chaotic activity in the brain are similar to those of the heart.  </p> <p><i> </i></p> <p><i>Narchitecture</i> is a non-static (live) hybrid of science and art, giving us a new experience of material and its articulation.  This occurs especially in Brighetti's video works, where there is a bit of nostalgia guided by a strong visual quality, evoking a retro futurist aesthetic. Human beings today are vitally dependent on technology. At the same time, these videos demonstrate how technology disconnects us emotionally. The organic forms featured in Brighetti's videos manifest an expression of desire for a more satisfying form of communication.</p> <p> </p> <p>Brighetti's interest in the organs of the body and his experiments with unusual materials are a tribute to a renaissance model of the artist. One can perceive the spiritual background in his work, but his understanding of substance makes his work accessible to perception and experience.  In exploring alternatives between chaos and organized systems of the human body, he sees both simple organic and human parts in his work. Brighetti says, "I like to think of my works as natural and narcotic architectures." </p> <p> </p> <p><b>Alessandro Brighetti</b> (Bologna, Italy 1978) received a graduate degree in painting from the Accademia di Belle Arti in Bologna in 2010. From a family of surgeons and research chemists, he became an autodidact in biology and medical studies. Recent exhibitions include, MAR - Museo Arte Ravenna, Italy (solo), and Primae Noctis Gallery, Lugano, Switzerland. Upcoming in 2013 is a group exhibition also curated by Lara Pan at Kunsthalle Winterthur, Switzerland, and a solo show at Galleria Primo Marella, Milan. </p> <p> </p> <p><i>Lara Pan </i>is a curator and art critic based in New York, where she founded the New Art Project platform. Her curatorial projects include, <i>Pandora's Sound Box</i> for Performa09; <i>When the fairy tale never ends</i>, inaugural exhibition of the Ford Art Project, NYC; and Wim Delvoye's <i>Torre</i> for the 2009 Venice Biennale at the Peggy Guggenheim Collection.</p> <p align="center"> </p> <p align="center">Caption: Alessandro Brighetti, Psilocybe, 2012, video 7:47 min. looped, videosculpture in artist's frame, 13 x 21 x 2 in</p> Thu, 10 Jan 2013 22:32:53 +0000 Karen Elaine Spencer, Moussa Kone - International Studio & Curatorial Program (ISCP) - January 22nd, 2013 6:30 PM - 8:30 PM <p>Moussa Kone</p> <p>Moussa Kone will discuss his project <em>Places to Recall</em>, which expands on his interest in the stage as much as drawing and exhibitions. Kone will speak about this series of drawings and objects that deal with the relationship between art and its audience.</p> <p>Karen Elaine Spencer</p> <p>Karen Elaine Spencer will share how her current project <em>hey! mike</em> engenders productive failure within the context of the artist being guest in a country not her own. She will explore how the artist residency "performs" the artist, how failure opens into art, and how words betray the speaker.</p> Wed, 26 Dec 2012 00:37:45 +0000 - Solomon R. Guggenheim Museum - January 22nd, 2013 6:00 PM - 8:00 PM <p>On October 22, 1953, <em>Sixty Years of Living Architecture: The Work of Frank Lloyd Wright</em> opened in New York on the site where the Solomon R. Guggenheim Museum would eventually be built. Two Frank Lloyd Wright-designed buildings were constructed specifically to house the exhibition: a temporary pavilion made of glass, fiberboard, and pipe columns; and a 1,700-square-foot, fully furnished, two-bedroom, model Usonian house representing Wright&rsquo;s organic solution for modest, middle-class dwellings.</p> <p>This presentation, comprised of selected materials from the Solomon R. Guggenheim Museum Archives, pays homage to these two structures. Aware of his lack of architectural recognition in New York City prior to the 1953 exhibition, Wright declared: &ldquo;this house and the pavilion alongside it . . . represent a long-awaited tribute: the first Wright building[s] erected in New York City.&rdquo;</p> Mon, 08 Jul 2013 01:04:41 +0000