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In his essay accompanying the 1977 exhibition Pictures at Artists Space\, and in a subsequent text published by Octoberin 1979\, the art historian Douglas Crimp introduced the work of a genera tion of artists\, and their use of “quotation\,” “excerptation\,” “framing\ ,” and “staging\,” that has since become synonymous with the postmodern rel ationship to pictures.

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Frozen Lakes examines the prominenc e that these artistic strategies have for a generation of artists born afte r Pictures. It equally attests to the changing nature of critical inquiry within today’s economy of image production\, and the shifting relat ionship between information and meaning.

The temporalities that Crimp identified in Pictures – “the staged tableau\,” “the freeze frame\,” “the historical fragment\,” and “the fascinated\, yet perplexed ga ze” – sought to highlight the picture as a “signifying structure of its own accord\,” usurping the reality that it claims to interpret. The contempora ry experience of images is saturated with a heightened notion of temporalit y: signifying structures circulating and performing through networks of val ue\, desire and exchange. The sense that pictures occupy very distinct plac es in culture\, and reveal a vertical “strata of representation\,” has been replaced by fluid\, maybe even liquid\, modes of accumulation and aggregat ion.

The artists featured in Frozen Lakes shift their a ttention from the dialectics of production towards the conditions of circul ation. Here\, the image can be seen as a series of gestures\; as a vessel i nhabited by\, as much as it conditions\, behaviors. Filmmaker and writer Al exander Kluge has used the phrase “frozen lakes” to speak of montage\, as a means to create “still images” as a technique of focusing.

By a ddressing the conditions of circulation as a sphere of exchange and value a ttribution\, and as a site for the formation of desire\, Frozen Lakes focus es on the blurred states between opacity and transparency. From the mediati ons between information leaks and brand images\, to the rendering of digita l surfaces as an extension of corporeality\, these processes question the e xperience of “presence” as integral to the “establishment of meaning.”

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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.

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Shadi Habib Allah (born 1977\, Jerusalem\, Israel) currently lives and works in N ew York\, having completed his MFA at Columbia University in 2010. His rece nt solo projects include a presentation at Art Statements\, Art Basel 43 (2 012)\; The King &\; The Jester\, Reena Spaulings\, New York (20 10)\; and An Ongoing Tale\, Al-Hajaj Gallery\, Ramallah (2006). He has also shown in several international venues including Al Hoash\, Jerusa lem (2012)\; Maraya Art Centre\, Sharjah (2011)\; Venice Biennale\, Venice (2009)\; and Tate Modern\, London (2007). In 2011 he was awarded a grant fr om the Louis Comfort Tiffany Foundation.

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Ed Atkins (born 1982\, Uni ted Kingdom) lives and works in London. His recent solo projects include Ch isenhale Gallery\, London (2012)\; Bonner Kunstverein\, Germany (2012)\; Fr ieze Film Commission (2011)\; Tate Britain (2011)\; and Cabinet Gallery\, L ondon (2011). Atkins has shown in several international group shows includi ng A Dying Artist\, ICA\, London (2011)\; Time Again\, Sc ulpture Center\, New York (2011)\; and An Echo Button\, with James Richards and Haroon Mirza\, commissioned for Performa 2011. He is a recipi ent of the 2012 Jerwood / Film &\; Video Umbrella Award.

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Banu Ce nnetoglu (born 1970\, Ankara\, Turkey) lives and works in Istanbul. Recent solo exhibitions include Guilty Feet Have Got No Rhythm\, Kunsthal le Basel (2011) and Sample Sale – 2010 BC\, Rodeo Gallery\, Istanbul (2010) \, and she has shown at institutions including Nicosia Municipal Arts Centr e\, Cyprus (2012)\; Kumu Art Museum\, Estonia (2011)\; Arter\, Istanbul (20 10)\; La Coleccion Jumex\, Mexico (2008)\; and the Walker Art Center\, Minn eapolis (2007). In 2008 she co-curated the exhibition Masist Gül a t Schinkel Pavilion as part of the 5th Berlin Biennial\, and in 2009 co-rep resented Turkey at the Venice Biennale together with Ahmet Ögüt. In 2006 sh e co-founded BAS\, a space focusing on artist books and other printed media works.

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Aaron Flint Jamison (born 1979\, Montana\, USA) lives and w orks 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-f ounded the artist-run center Department of Safety (2002-2010) in Anacortes\ , WA\, and is the founder and editor of Veneer Magazine.

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T obias Kaspar (born 1984\, Basel\, Switzerland) lives and works in Berlin. H is installation Bodies in the Backdrop has recently been shown at Galerie Peter Kilchmann\, Zurich (2012) and Halle für Kunst\, Luneburg (201 2)\, along with solo exhibitions at Alex Zachary Peter Currie\, New York (2 011)\; Silberkuppe\, Berlin (2011)\; Künstlerhaus Stuttgart (2009)\; and CC S Skopje\, Macedonia (2008). Kaspar studied at the Academy of Fine Arts Ham burg\, and Städelschule\, Frankfurt\, and has participated in several group shows including So Machen Wir Es\, Kunsthaus Bregenz (2011) and < em>How to Work\, Kunsthalle Basel\, Switzerland (2011). He is a foundi ng editor of PROVENCE magazine.

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Metahaven (founded 2007\, Netherlands) is an Amsterdam based studio for design and research founded b y Vinca Kruk and Daniel van der Velden. In 2010 they released Uncorpora te Identity\, a book on politics and visual identity published by Lars Müller. Recent solo exhibitions include Stadtstaat\, Künstlerhaus Stuttgar t/Casco (2009)\, and Affiche Frontière\, CAPC musée d’art contemporain de B ordeaux (2008). Metahaven has lectured widely and participated in several g roup exhibitions including The New Public\, Museion Bolzano\, Ital y (2012)\; Graphic Design: Now In Production\, Walker Art Center\, Minneapolis (2011)\; Gwangju Design Biennale\, Korea (2011)\; and Manifest a 8\, Murcia\, Spain (2010).

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Ken Okiishi (born 1978\, Iowa\, USA) l ives and works in New York and Berlin. He has recently presented solo exhib itions at Take Ninegawa\, Tokyo (2012)\; Alex Zachary Peter Currie\, New Yo rk (2010)\; and Mehringdamm 72\, Berlin (2010). In 2011\, his video (Go odbye to) Manhattan was screened at Anthology Film Archives\, New York \, and in 2009 he was included in Performa 09\, New York. Okiishi has parti cipated in numerous group exhibitions including Based in Berlin\, Berlin (2 011)\; One is the loneliest number (with Nick Mauss)\, Institute o f Contemporary Art\, Philadelphia (2011)\; In the Middle of Affairs\, Künstlerhaus Stuttgart (2010)\; Camden Arts Centre\, London (2009)\; an d Contemporary Art Museum St Louis (2009).

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Charlotte Prodger (born 1974\, Bournemouth\, England) lives and works in Glasgow. Recent solo exhib itions include Studio Voltaire\, London and Intermedia\, Glasgow (both 2012 )\; Kendall Koppe\, Glasgow (2011)\; and a two-person exhibition at Essex S treet\, New York (2012)\, as well as several group shows including ICA\, Lo ndon (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 Arta ngel and Film London\, and written works published by 2HB (CCA)\, Market Ga llery\, High Horse and Victor &\; Hester.

James Richards (bor n 1983\, Cardiff\, Wales) lives and works in London. Solo exhibitions inclu de a residency at CCA Kitakyushu\, Japan (2012)\; Chisenhale Gallery\, Lond on (2011)\; Rodeo Gallery\, Istanbul (2011)\; Art Now (with Clunie Reid)\, Tate Britain (2010)\; Tramway\, Glasgow (2009) and Swallow Street\ , London (2009). Recent group exhibitions include Younger than Jesus at the New Museum\, New York (2009) and Nought to Sixty at ICA London (2009). Richards has curated film programs and screenings at Serpent ine Gallery\, London (2010)\; BFI\, London (2010)\, X-Initiative\, New York (2009)\; and Whitechapel Gallery\, London (2007). He is the recipient of t he 2012 Jarman Award.

Slavs and Tatars (founded 2006) is a colle ctive whose work spans several media and cultural registers. Solo exhibitio ns in 2012 include Beyonsense\, Museum of Modern Art\, New York\; Khhhhhh\, Moravian Gallery\, Brno\; and Not Moscow\, Not Mecca \, Secession\, Vienna\, in addition to group shows including The U ngovernables\, New Museum\, New York (2012)\; the 9th Gwangju Biennial \, Korea (2012)\; and Sharjah Biennial 10\, Sharjah (2011). In 2013 Slavs a nd Tatars will have solo presentations at Kunstlerhaus\, Stuttgart\, and RE DCAT\, Los Angeles.

DTEND:20130331 DTSTAMP:20141128T150708 DTSTART:20130120 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Frozen Lakes\, Shadi Habib Allah\, Ed Atkins\, Banu Cennetoglu\, Aa ron Flint Jamison\, Tobias Kaspar\, Metahaven\, Ken Okiishi\, Charlotte Pro dger\, James Richards\, Slavs and Tatars UID:249891 END:VEVENT BEGIN:VEVENT DTEND:20130119T200000 DTSTAMP:20141128T150708 DTSTART:20130119T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Frozen Lakes\, Shadi Habib Allah\, Ed Atkins\, Banu Cennetoglu\, Aa ron Flint Jamison\, Tobias Kaspar\, Metahaven\, Ken Okiishi\, Charlotte Pro dger\, James Richards\, Slavs and Tatars UID:249892 END:VEVENT END:VCALENDAR