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303 Gallery is pleased to present "euqinimod &\; costumes "\, our first exhibition of the work of Dominique Gonzalez-Foerster.

\n< p>For her first exhibition at 303 and in a New York gallery\, Dominique Gon zalez-Foerster will present a new typology of works by revealing an unusual part of her personal archives from the mid-sixties until now\, both intima te and social\, both fetishistic and symptomatic: her personal clothing and textiles.

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While walking through the exhibition "Club to Catwalk: L ondon Fashion in the 1980s" at the Victoria &\; Albert Museum in London\ , Gonzalez-Foerster had an epiphany that the inflatable Michiko Koshino coa t with a movable tail she used to wear belonged to the museum collection an d that the exhibited Michiko Koshino coat actually belonged to her wardrobe . Through this revelation a conversation followed\, not about fashion\, tre nds\, brands\, lifestyles\, but on clothes and textiles in a larger sense a s possible autobiographical evidences and as the symptoms of Gonzalez-Foers ter's artistic personality through different periods. Corresponding to diff erent aspects of her practice and to an exhibition itself as far as textile s and clothing could be considered as ready-mades and narratives\, Dominiqu e's wardrobe constitutes a new field of exploration into the biographical s elf.

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Gonzalez-Foerster's work has a history of a strong and vivid r elation to textiles and clothing considered not only as materials and surfa ces but also as objects of meditation and reverie. Textiles have been prese nt in different forms\, like carpets combined with books in her various "ta pis de lecture"\, and in different forms as well\, such as in "Nos ann&eacu te\;es 70" under the form of an Indian fabric bringing back her mother's ro om in the seventies\, or in "RWF"\, staging Rainer Werner Fassbinder's room with a brown velvet spread covering the filmmaker's bed. In 2012\, Gonzale z-Foerster began work on the the ongoing opera project "M.2062"\, connectin g her research with 19th century issues and the Gesamtskunstwerk\, appearin g in costume as characters including King Ludwig II\, Scarlett O'Hara and E dgar Allan Poe. Clothes evolve from being canvases for moods\, attitudes an d psychological moments similar to rooms\, spaces and dioramas\; they turn into apparitions as characters become costumes. By twisted extension\, this logic is taken to a new conclusion: Gonzalez-Foerster's clothes appear as costumes\, narratives and fictions which mirror a fragmented and multiple i nner self.

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A subjective description of a selection of works from th is exhibition will be featured in the upcoming booklet "euqinimod and costu mes" composed by Tristan Bera.

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Dominique Gonzalez-Foerster lives an d works in Paris and Rio de Janeiro. In 2015\, her career will be the subje ct of a major survey exhibition at Museum of Modern Art\, Rio de Janeiro an d Centre Pompidou\, Paris. In May of this year\, 1984-1999 The Decade will open at the Centre Pompidou-Metz in France\, where Gonzalez-Foerst er has designed all scenography and the exhibition scape. Recent solo exhib itions of her work include Splendid Hotel\, Palacio de Cristal in collaboration with the Reina Sofia Museum in Madrid\; M.2062\, Stedelijik M useum\, Amsterdam\; Belle Comme le jour\, Art Unlimited\, Basel\; T.1912\, Guggenheim Museum\, New York\; chronotopes &\; dioramas\, Dia Art Foundation\, New York\; TH.2058\, Turbine Hall\, Tate Modern\, London\; Nocturama\, Museo de Arte Contemporá\;neo de Castilla y Lé\;on\; Expodrome\, Musé\;e d'art moder ne de la Ville de Paris/ARC\; Multiverse\, Kunsthalle Zü\;rich \; and Dominique Gonzalez-Foerster - Prix Marcel Duchamp\, Centre Pompidou\, Paris. She also participated in Making Worlds\, the 53r d Venice Biennale\; Skulptur Projekte Mü\;nster\; and Documenta 11\, Ka ssel (2002). Gonzalez-Foerster is the recipient of the 2002 Marcel Duchamp Award.

DTEND:20140531 DTSTAMP:20140424T005145 DTSTART:20140417 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: euqinimod & costumes\, Dominique Gonzalez-Foerster UID:329548 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ticklish motifs await us in Selzer&rsquo\;s current series < em>Meet me in the trees. Following on the heels of  \;Sabotage \, No Tears for the Creatures of the Night\, Mind Candy&n bsp\;and Cadavre Exquis\, we find barely dressed and nude fig ures in the bushes. This is actually a classical motif in art history\, and an extensively exhibited sujet with prominent progenitors such as Botticelli and Rubens and Manet and Cé\;zanne and Picasso&mdash\;and many many more. To be fair\, we ought to mention Paula Modersohn-Becker as well: the very artist who\, in 1906\, painted the first nude self-portrait . These days we believe we&rsquo\;ve seen everything. But Tanja Selzer woul d not be Tanja Selzer\, had she not succeeded in breathing new and vibrant life into this otherwise hackneyed theme. In view of her new works\, it app ears as if  \;Selzer conceives of the term &ldquo\;nude&rdquo\; (in Ger man Akt) in its original sense as something derived from the conce pts of &ldquo\;actus&rdquo\;&mdash\;thus gesticulation&mdash\;and of &ldquo \;agere&rdquo\;&mdash\;which means &ldquo\;to set in motion&rdquo\;.

\n< p>Her motifs are screenshots from the internet&rsquo\;s worldwide photo alb um. Outdoor moments that could have taken place anywhere. Scarcely compromi sing\, when you see them on your computer screen. On the other hand\, these paintings are not only of considerable size\; they also show the bodies in a field of color that appears frightening and irrational\, yet simultaneou sly pleasurable thanks to the way it&rsquo\;s been ecstatically painted. Th ere is something absurd about the manner in which these skin-toned forms ha ve strayed into this ineffable world of colorful abstractions. And it is pr ecisely this contradiction that piques our curiosity and challenges us. At close glance the ecstasy is even more visible and palpable. Thus the forms in the back- and foreground&mdash\;the shadows of the people and of the bus hes\, the colors of clothing and plants&mdash\;all blend together in a flor al-vegetable act of love. The love-play is an immediate and an intimate one \, befitting the moment depicted and the detail chosen by the artist from t he plenitude of materials available to her. Selzer&rsquo\;s subtle painting techniques have been adapted to suit the theme portrayed here. Powerful\, richly contrastive strokes alternate with gentle rhythmic glazing. With exc eptional dramaturgical skill the artist guides the gaze of the spectator ac ross the diversity of skillfully and picturesquely staged scenes towards a putative highpoint. The highpoint itself remains vague. As is often the cas e\, it is up to us to imagine more fully in our fantasy the scene depicted\ , and to enjoy it for what it is&mdash\;a painted canvas\, but painted in a n exceedingly pleasurable manner.

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With her new series\,  \;Selz er alludes back to the early history of the nude&mdash\; age when the nude had yet to be rarefied religiously and morally\, but instead paid homage\, first and foremost\, to the cult of fertility. Thus\, in the works of her c urrent series Meet me in the trees\, Selzer not only probes the de pths of the laws of painting in an exceptionally adept fashion\, but also p lays with the strange attitudes of a society that is apparently forced to w ithdraw back into the bushes\, wearied by the sheer surfeit of virtual porn ography.

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Text: Harald Krä\;mer
Translation: Brian Poole DTEND:20140426 DTSTAMP:20140424T005145 DTSTART:20140220 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Meet me in the trees\, Tanja Selzer UID:320454 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ABC No Rio is pleased to present RESx\, organized by members of the artists&rsquo\; group
Colab. Complementing an exhibition at Ja mes Fuentes Gallery of original work from the Real Estate
Show of 1980 \, artists involved in that seminal exhibition are also organizing events a nd activities at
Cuchifritos in the Essex Street Market as well as thi s exhibition at ABC No Rio. RESx will be feature
new work on the theme s of real estate\, land-use\, and the right to housing.
The original R eal Estate Show opened on New Year&rsquo\;s Eve\, 1979 at 123 Delancey\, no w part of the
proposed massive Essex Crossing development. The Real Es tate Show led the creation of ABC No Rio.

DTEND:20140508 DTSTAMP:20140424T005145 DTSTART:20140409 GEO:40.7192565;-73.9853963 LOCATION:ABC NO RIO\,156 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:RESx: The Real Estate Show extended (Revisiting the Themes of Landm ark 1980 Exhibition) UID:327742 END:VEVENT BEGIN:VEVENT DTEND:20140409T210000 DTSTAMP:20140424T005145 DTSTART:20140409T190000 GEO:40.7192565;-73.9853963 LOCATION:ABC NO RIO\,156 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:RESx: The Real Estate Show extended (Revisiting the Themes of Landm ark 1980 Exhibition) UID:327743 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery is pleased to pr esent recent works by Adeela Suleman in her second New York solo exhibition \, Towards the End. The exhibition hinges around a new group of monumental hand-beaten steel reliefs\, rendered in the filigree tradition of Islamic a rt\, depicting beheaded figures engaged in violent\, but also absurd\, scen es of armed conflict.

From the Paleolithic into Neolithic eras \, prehistoric humans shaped stone tools amid a progression of cultural and technological developments. Neolithic domestication led to permanent settl ements\, refining crafts such as pottery and weaving\, to ultimately give r ise to Bronze Age metallurgy. The emergence of metal tools advanced the tec hnology of early civilization\, including the first modern tools of war. In history\, warriors are often portrayed with favored armaments &ndash\; swo rds\, lances\, bows\, shields\, guns &ndash\; adorning suits of protective armor. Arms not only provide visual evidence of a soldier&rsquo\;s capacity and stature\, but also testify to his established role in the social hiera rchy.

In the Mubarizun &ndash\; No More series\, Suleman portr ays soldiers in binary identities\, simultaneously as decorated heros and h eadless entities of war. Depictions of senseless killing lead to scenes of violent chaos and anarchy\, rather than exploring the alternatives of altru istic reason and harmony. Decapitated soldiers march purposefully to battle \, yet are unable to comprehend why. Historically\, the term &ldquo\;mubari zun&rdquo\; (translated: duelers\, or champions) referred to an elite unit of the Rashidun army comprised of top warriors &ndash\; the master swordsme n\, lancers and archers of their time. The Mubarizun were a recognized bran ch of the Muslim army\, its sole purpose to slay as many opposing commander s\, often in a duel preceeding the battle\, for the purpose of demoralizing the enemy. In Mubarizun &ndash\; No More Series 1\, Suleman portrays two s oldiers on a bed of flowers after beheading each other\, with petal-like bl ood drops spraying from their severed necks as a crow sits unaffected upon one of the figures. The sculptures address\, among other things\, the arche typal history of human violence\, paired with the inherent ambivalence of m odern warfare\, where killing on both small and large scales has become inc reasingly depersonalized and ambiguous in terms of accountability.
Suleman&rsquo\;s metal sword series\, Karr Wa Farr\, also incorporates the iconography of early Islamic warfare. Literally translated\, &ldquo\;k arr wa farr&rdquo\; means attack and flee\, which was an early Arabian cava lry tactic. To weaken the enemies\, infantry would use systematic advances and abandonments with spears and swords interspersed with arrow volleys. Th e strategic moment was reserved for a counterattack\, supported by a flanke d cavalry charge. In this sculptural series\, Suleman depicts a small snake impaled upon a sword\, whose blade is a wilted leaf\, mounted upon a pedes tal rendered in an arabesque pattern. Art\, in this case\, bears witness to the futility and ultimate impotence of violence as a means of social or cu ltural transformation\, from past to present and into the future.

Signature to her style\, many of Suleman&rsquo\;s sculptures are render ed in relief. Fashioned from hammered stainless steel\, the finished works rise subtly from walls and platforms with intricate and shimmering detail. Despite their polish and refinement\, the reliefs retain the humanistic aur a of their hand-crafted creation and are rife with questions and suggestion s beyond their figurative content. Suleman transforms basic subjects &ndash \; often birds\, plants\, vases\, weaponry\, drapes and crowns &ndash\; int o a more complex iconography\, revealing a deeper engagement with political \, gender and societal concerns. Initially drawn to functional metallic obj ects such as colanders\, drains\, nuts and bolts\, Suleman continues to cre ate sculptures that both seek to beautify and dissect these prevalent theme s.

The recurring motifs in Suleman&rsquo\;s work &ndash\; org anic subjects such as birds and flowers &ndash\; form detailed\, repetitive patterns\, which are replete with symbolic meaning. Abstracted notions of loss and disappearance quietly resonate through her sculptures. In lieu of tombs\, memorials and funerals\, the works confront our earthly fears\, but remain suggestive of transcendental relief. They may be seen simultaneousl y as symbolic representations of the coexistence between love of nature and the chaos of man\, in addition to the fragmented documentaries referencing recent violent and catastrophic occurrences within the artist&rsquo\;s soc iopolitical landscape.

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Adeela Suleman studied Sculpture at the Indus Valley School of Art and completed a Master &rsquo\;s degree in International Relations from the University of Karachi. She is currently the Coordinator of Vasl Artists&rsquo\; Collective in Kar achi\, in addition to being the Coordinator of the Fine Art Department at I ndus Valley School of Art and Architecture. Suleman has participated extens ively with group and solo exhibitions worldwide\, including Phantoms of Asi a at the Asian Art Museum\, San Francisco\, the 2013 Asian Art Biennial at the National Taiwan Museum of Fine Art\, Hanging Fire &ndash\; Contemporary Art from Pakistan at The Asia Society\, New York\; Gallery Rohtas 2\, Laho re\; Canvas Gallery\, Karachi\; Aicon Gallery\, New York\; and\, the Intern ational Exhibition of Contemporary Art\, Bologna\, Italy (2008). Reviews an d features of work appear in Artforum and the New York Times\, among other publications. The artist lives and works in Karachi\, Pakistan.

DTEND:20140606 DTSTAMP:20140424T005145 DTSTART:20140417 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Towards the End \, Adeela Suleman UID:330904 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Robert Kinmont was born in Los Angeles in 1937 and currently lives in Northern California. Between 1968 and 1981\, he exhibited in gall eries and institutions such as the San Francisco Museum of Art\; the de You ng Museum\, San Francisco\; the Smithsonian Institution\, Washington D.C. a nd the 1968 &ldquo\;Sculpture Annual&rdquo\; at the Whitney Museum\, New Yo rk. Between 1981 and 2004\, Kinmont studied Buddhism and worked as a carpen ter and returned to his artistic practice in 2005. One-person exhibitions o f his sculpture and photography took place at Alexander and Bonin in 2009 a nd 2011\, and in 2010 his work was included in several group exhibitions su ch as &ldquo\;The Traveling Show&rdquo\; at Fundació\;n/Colecci&oacut e\;n Jumex\, Mexico City\, and &ldquo\;The Moon is An Arrant Thief&rdquo\; at the David Roberts Foundation\, London. In 2011\, Kinmont&rsquo\;s work w as included in &ldquo\;State of Mind\,&rdquo\; a survey of new California a rt circa 1970 co-organized by the University of California\, Berkeley Art M useum and the Orange County Museum of Art. His work is on view in &ldquo\;E nds of the Earth: Art of the Land to 1974\,&rdquo\; at the Geffen Contempor ary at the Museum of Contemporary Art\, Los Angeles until September 3rd. Th e exhibition will subsequently travel to Haus der Kunst\, Munich.

DTEND:20140524 DTSTAMP:20140424T005145 DTSTART:20140412 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY: trying to return home educated\, Robert Kinmont UID:330951 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates presents its inaugural exhibition of Heidi Bucher\, featuring emblematic works from the 1980s and 1990s. Buch er (b.1926\, Winterthur\, Switzerland &ndash\; d.1993\, Brunnen\, Switzerla nd) maintained an important\, but overlooked practice dedicated to the expl oration of materiality\, space\, and the body. The exhibition focuses on Bu cher&rsquo\;s &ldquo\;skinnings\,&rdquo\; the works for which the artist is most well-known. Studies of personal\, cultural\, and collective memory an d experience\, the &ldquo\;skinnings&rdquo\; examine architectural elements of historically and personally significant buildings. Having studied fashi on\, Bucher began her career creating body wrappings\, body shells\, and la tex casts of clothing\, exploring clothes as second skins that hid women bo th physically and psychologically. Bucher&rsquo\;s move towards architectur al imprints\, which began after returning to Switzerland from Los Angeles i n the early 1970s\, was an extension of her earlier clothes-based works and her investigation of the body in space.

Heidi Bucher created pieces like Obermühle (c.1980s) by applying fabric or caoutchouc to the interior surfaces of rooms\, including doors\, floor segments\, win dows\, and entire walls. Layering latex on top\, she removed the fabric and latex as one\, often peeling off paneling\, plaster\, and pigments in the process. Her &ldquo\;skinnings" embody both the materials used and the arch itectural features of the space. In some cases\, Bucher applied a top coat of iridescent mother-of-pearl paint\, giving the works a patina-like finish as in Untitled (floor fragment) (n.d.). Through a highly physical process of artistic creation\, Bucher engaged with notions of personal and collective memory. As she stated\, &ldquo\;We paste the rooms and then lis ten. We observe the surface and coat it. We wrap and unwrap. Life\, the pas t\, becomes entangled in the cloth and remains fixed. Slowly we loosen the layers of rubber\, the skin\, and drag yesterday into today.&rdquo\; Bucher &rsquo\;s works enabled her to appropriate historically and personally char ged spaces and make them her own. Villa Bleuler (c.1991)\, a tile imprint of the nineteenth century estate\, is indicative of the domestic en vironments and spaces on the verge of decay or destruction that primarily c oncerned Bucher\; she worked on the historic villa right before it was reno vated to house the Swiss Institute for Art Research. The resulting objects carry great emotional significance\, containing a personal story of the art ist&rsquo\;s past.

Heidi Bucher&rsquo\;s work has been exhibit ed extensively throughout Europe and North America. She is currently the su bject of a solo exhibition at the Swiss Institute in New York. In 2004\, Bu cher was the subject of a retrospective exhibition at the Migros Museum f&u uml\;r Gegenwartskunst\, Zurich\, Switzerland. Her work was exhibited in th e 1972 exhibition Bodyshells at the Los Angeles County Museum of A rt\, CA\; as well as the 1971 exhibition Soft Sculptures to Wear a t the Museum of Arts and Design\, New York. Recent exhibitions featuring he r work include the Centre Culturel Suisse\, Paris\, France (2013)\; Mus&eac ute\;e Rath\, Genè\;ve\, Switzerland (2013)\; Kunstmuseum Luzern\, Lu cerne\, Switzerland (2012)\; and the Museum Bellerive\, Zurich (2008). Her work is in the permanent collection of the Migros Museum fü\;r Gegenwar tskunst\, Zurich.

DTEND:20140518 DTSTAMP:20140424T005145 DTSTART:20140409 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Heidi Bucher UID:329533 END:VEVENT BEGIN:VEVENT DTEND:20140409T200000 DTSTAMP:20140424T005145 DTSTART:20140409T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Heidi Bucher UID:329534 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition will explore the polemical yet fascinating w ays in which fashion engages with art. Conceived as an encounter between tw o worlds of creative endeavor\, &ldquo\;Folk Couture&rdquo\; will feature t he work of thirteen established and emerging designers who will create an o riginal ensemble based on a selection of paintings\, sculptures\, photograp hs\, quilts\, and furniture chosen from the museum&rsquo\;s outstanding col lection. The designers have selected approximately thirty artworks\, drawn from every time period and in every medium considered by the museum\, not o nly for their potential fashionability and capacity to inspire new styles o f clothing but also for their background stories that inject powerful notes of intimacy and authenticity. The original couture and the works of art fr om the museum's collection will be exhibited together in juxtapositions tha t promise to be both stunning and provocative.

DTEND:20140423 DTSTAMP:20140424T005145 DTSTART:20140121 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Folk Couture: Fashion and Folk Art\, John Bartlett\, Michael Bastia n\, Chadwick Bell\, Fabio Costa\, Creatures of the Wind\, Gary Graham\, Cat herine Malandrino\, Bibhu Mohapatra\, Ronaldus Shamask\, Yeohlee Teng\, thr eeASFOUR\, Jean Yu\, Koos van den Akker UID:310984 END:VEVENT BEGIN:VEVENT DTEND:20140121T173000 DTSTAMP:20140424T005145 DTSTART:20140121T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Folk Couture: Fashion and Folk Art\, John Bartlett\, Michael Bastia n\, Chadwick Bell\, Fabio Costa\, Gary Graham\, Catherine Malandrino\, Bibh u Mohapatra\, Ronaldus Shamask\, Yeohlee Teng\, threeASFOUR\, Koos van den Akker\, Creatures of the Wind\, Jean Yu UID:310985 END:VEVENT BEGIN:VEVENT DESCRIPTION:

he Temptation To Exist (May Contain Nuts) marks a n otable evolution in Friedrich Kunath&rsquo\;s practice into a matured explo ration of abstraction\, interior sensation\, and oppositional relationships that propel emotional experience. On the heels of a comprehensive monograp h entitled In My Room\, and a series of institutional exhibitions\ , Andrea Rosen Gallery is delighted to announce Kunath&rsquo\;s fourth solo exhibition with the gallery.

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Inextricably entwining the experience of the ordinary with the sublime\, Kunath&rsquo\;s works jump between dayd reams and &ldquo\;reality\,&rdquo\; painterly surface and psychological int erior. Through heightening the artifice and the sincerity of the narrative\ , both are shown to be essential. Playfully pushing every element to the li mit of its emotionality and capacity for meaning\, Kunath reveals the defla tive qualities of a climax\, and simultaneously suggests that certain new t ruths can be revealed through\, as the writer David Berman describes\, &ldq uo\;knowing which dimension of an uninteresting thing is actually interesti ng.&rdquo\; The act is an embrace of existence &ndash\; both vibrant and mu ndane. An invitation into a perpetual joke.

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Within the landscape of the exhibition\, one is met first with nostalgia\, and then\, as though sl ipping into a fever dream\, invited to wander the juxtaposed realms of past and future\, elegance and decay\, the bucolic and the strange. The images build upon themselves in a layered stream of consciousness driven by the au tobiographical\, the conceptual and the emotional. Here\, elements individu ally familiar\, in unison\, now propose a kaleidoscopic view of reality.

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&ldquo\;Somewhere in these oppositions lies the aesthetic possibi lity of slipping on a banana peel&rdquo\; &ndash\; Friedrich Kunath

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&ldquo\;Too late for fruit\, too soon for flowers&rdquo\; &n dash\; Walter de la Mare

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Friedrich Kunath was born in Chemnitz\, Ge rmany\, in 1974\, and currently lives and works in Los Angeles\, California . His exhibition Friedrich Kunath: A Plan to Follow Summer Around the W orld\, is currently on view at the Centre d'art contemporain d'Ivry - le Cré\;dac through March 23rd\, 2014\, and a forthcoming exhibition at the Kunsthalle Bremerhaven\, Bremerhaven\, Germany\, will be on view fro m September 16 &ndash\; November 2\, 2014. Recent solo shows include Modern Art Oxford\, Oxford (2012)\, Schinkel Pavillon\, Berlin (2011)\, Hammer Ar t Museum\, Los Angeles (2010)\, the Kunstverein Hannover (2009)\, and the A spen Art Museum (2008). Kunath was included in the 55th Carnegie Internatio nal\, Pittsburg. He is a recipient of the Peter Mertes Stipendium\, Bonner Kunstverein\, Germany (2001) and the Jü\;rgen Ponto-Foundation Stipend\ , Frankfurt (2005).

DTEND:20140426 DTSTAMP:20140424T005145 DTSTART:20140315 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Temptation To Exist (May Contain Nuts)\, Friedrich Kunath UID:326024 END:VEVENT BEGIN:VEVENT DTEND:20140314T200000 DTSTAMP:20140424T005145 DTSTART:20140314T180000 GEO:40.749185;-74.005023 LOCATION:Andrea Rosen Gallery\,525 W.24th St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Temptation To Exist (May Contain Nuts)\, Friedrich Kunath UID:326025 END:VEVENT BEGIN:VEVENT DESCRIPTION:

&ldquo\;It is hard work to listen\, though we probably s pend more time doing it than almost anything else we do. But it is even har der work to be attentive to how we listen and this\, I suppose\, is what I& rsquo\;ve been doing for the past 15 years.&rdquo\;
-Sharon Haye s\, &ldquo\;There&rsquo\;s so much I want to say to you&rdquo\;

Andrea Rosen Gallery is pleased to announce Fingernails on a blackboa rd\, Sharon Hayes&rsquo\; first project with the gallery and an eagerl y anticipated exhibition at Gallery 2. She has had numerous institutional e xhibitions in New York\, including her 2012 survey There&rsquo\;s so mu ch I want to say to you at the Whitney Museum of American Art.
< br /> The exhibition expands and builds upon an established line of inquiry in Hayes&rsquo\; work through her active mining of the intersection betwee n history\, politics and speech. Both the title of the exhibition and a new body of work\, Fingernails on a blackboard investigate how voice acts as the embodied medium of speech. Hayes takes an action at the Statue of Liberty on August 10\, 1970 and the 1977 National Women&rsquo\;s Confere nce in Houston\, Texas as points of departure. The 1977 conference was a re sult of an executive order to assess the status of women in light of the Un ited Nations proclaiming 1975 as International Women&rsquo\;s Year\; New Yo rk Congresswoman Bella Abzug was appointed to head the conference. Followin g the conference\, an extension was granted for the ratification of the Equ al Rights Amendment. Having only been ratified by 35 states by the 1982 dea dline\, the amendment has never been passed.

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In the exhibition\, Ha yes reproduces a fragment of a banner hung off the Statue of Liberty that r ead &ldquo\;WOMEN OF THE WORLD UNITE!&rdquo\; The banner was hung to promot e the Women's Strike for Equality held two weeks later\, August 26\, 1970 o n the 50th anniversary of women&rsquo\;s suffrage. Hayes&rsquo\; interpreta tion features black painted text on a white ground that only reads &ldquo\; WOMEN.&rdquo\; Hayes also reproduces a banner hung on the stage of the Nati onal Women&rsquo\;s Conference. Approximating the scale of the text of the actual banner\, six-foot high panels become a painted translation of voice literally shouting the word &ldquo\;WOMAN&rdquo\; and nearly exceeding the size of the gallery space. The scale and media of these particular works re flect Hayes&rsquo\; engagement with both the context of the gallery and the specificity of the physical space. A new video and sound work uses the tra nscript of a meeting between politician Bella Abzug and a vocal coach in wh ich both work at neutralizing Abzug's regional accent and softening her ton e. The work addresses the political consequences of gender and specific lim its of power in the specter of public speech.

&ldquo\;It r aises the question: Could you actually live in this country for eight years having to listen to her voice?&rdquo\;
-Megan Garber quoting Tu cker Carlson on Hillary Clinton\, Columbia Journalism Review\, 2008
< br /> Hayes engages the present moment by calling upon the past. Through it s material animation\, Hayes shows how history embeds itself in collective memory and gets played out in current political situations. Viewers are ask ed to traverse the boundary between public and private\, recognizing themse lves as beholden to and actors in historical realities. Events like the 197 0 action at the Statue of Liberty or the 1977 National Women&rsquo\;s Confe rence are recalled in gestures that document but also transform the origina l objects. By isolating and re-contextualizing the words WOMAN and WOMEN\, Hayes&rsquo\; exhibition points to the precariousness of the terms in this time and place and raises questions about the complexity of collective affi liations around gender now.

Sharon Hayes (b. 1970\, Baltim ore\, MD) has had major solo exhibitions at the Reina Sofia\, Madrid\; the Art Institute of Chicago\, and most recently at the Whitney Museum of Ameri can Art\, New York. Her work has been widely exhibited in significant exhib itions including The Encyclopedic Palace at the 55th Venice Biennale\; the 2010 Whitney Biennial\, documenta 12 (collaborative project)\, Kassel\; MoM A PS1\, Long Island Cith\, NY\; Generali Foundation\, Vienna\; Museum Moder ner Kunst (MUMOK)\, Vienna\; Artists Space\, New York\; New Museum\, New Yo rk\; Tate Modern\, London\;and the Istanbul Biennale. Hayes has been recent ly granted the Alpert Award in the Arts. The artist lives and works in New York.

DTEND:20140426 DTSTAMP:20140424T005145 DTSTART:20140315 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Fingernails on a blackboard\, Sharon Hayes UID:326026 END:VEVENT BEGIN:VEVENT DTEND:20140314T200000 DTSTAMP:20140424T005145 DTSTART:20140314T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Fingernails on a blackboard\, Sharon Hayes UID:326027 END:VEVENT BEGIN:VEVENT DESCRIPTION:
Andrew Kreps Gallery is pleased to present a solo exhibition by New Yo rk artist\, Nancy Brooks Brody in the 535 West 22nd Street gallery. The exh ibition\, \;SUITES IN SPACE: Merce Drawings and Color Forms\, features two new series of works. Merce Drawings are linear compositions ex ecuted on top of still \;photographic images of Cunningham performances \, which foreground shapes made by the body as it traveled through space an d time. To create \;Merce Drawings\, Brody prints low-res imag es culled from the Internet onto newsprint. These photographs of dancers&rs quo\; bodies capture a tilted head or a shift in weight to create fixed poi nts that guide the visual plane. While Brody makes several prints of the sa me image\, each unique work underscores the live act of drawing - the unpre dictability and the inscription of movement onto time. The painting-objects \, \;Color Forms\, are further meditations on the \;impres sion a body leaves behind. For these works\, Brody embeds enamel-painted sh apes made of lead into shallow clefts carved directly into the wall. An ext ension of her life drawing practice\, they are characteristic of Brody&rsqu o\;s investment in transmissions\, transitions and form.

Brody c reates painting\, drawing and sculptural works in which the tension between precision and chance give way to a sense wonder. In this exhibition\, she continues her consideration of abstract forms inspired by traces of corpore ality. \;

Nancy Brooks Brody was born in New York\, where sh e lives and works. She has exhibited two solo shows at Virgil de Voldere Ga llery\, New York. Selected groups exhibitions include Brooklyn Museum\, New York\; La Mama La Galleria\, New York\; FRAC Haute-Normandie\, France\; Wh ite Columns\, New York\; Slingshot Project\, Brussels\; Artists Space\, New York\; Vera List Center for Arts and Politics\, New York and The Drawing C enter\, New York. Nancy Brooks Brody has been a member of the queer women&r squo\;s collective\, fierce pussy\, since 1991.
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DTEND:20140510 DTSTAMP:20140424T005145 DTSTART:20140405 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Suites in Space: Merce Drawings and Color Forms\, Nancy Brooks Brod y UID:330952 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pleased to present Gustave 2 014&hellip\; the gallery&rsquo\;s first exhibition with London and Dij on-based artist Marc Camille Chaimowicz. Known for his pioneering work of t he 1970&rsquo\;s\, his work has continued to blur the distinctions between performance and installation\, as well as art and life.

Over th e past four decades\, from the performances and installations in the 70&rsq uo\;s through his designs for furniture\, ceramics and patterns for mass-pr oduced consumer items\, Marc Camille Chaimowicz has developed an unmistakab le formal idiom and signature style. His belief in beauty\, lightness and e legance is expressed in his preference for graceful curves\, delicate forms \, and a characteristic palette of pastel shades. This nuanced approach ref lects the ambiguity of the artwork\, which is always situated somehow &ldqu o\;in-between&rdquo\;. Chaimowicz takes pleasure in breaking down the hiera rchy of applied and fine art. His pattern designs appear rooted in the pain terly vocabulary of modernism\, especially that of French painting and lite rature\, to whose legacy he feels attached.

For his show entitl ed Gustave 2014&hellip\; Chaimowicz has built a cruciform wall in the middle of the gallery creating intimate interior spaces in which carpet \, wallpaper\, furniture\, painting and prints are installed to create laye red and wholly unique tableaus reflecting the artist&rsquo\;s idiosyncratic dandyism. \; Depicting a place neither here nor there\, and in a time not delineated\, these environments are imbued with a sense of nostalgia th at both resists and invites the viewer. A second &ldquo\;chapter&rdquo\; of prints created from images from his seminal catalog which hi-jacked the tr aditional form of an interiors magazine are featured along with a slide-pro jector work\, originally exhibited at the Tate which layers images of the a rtist upon themselves.

In his own words\, &ldquo\;We should resi st the tyranny of linear time for one which is much more elusive\, labyrint hian\, gracious and once understood\, perhaps even kindly. Once we recogniz e that it can fold in on itself &ndash\; wherein\, for example\, recent eve nts can seem distant and more distant ones seem closer &ndash\; we then hav e a greater fluidity of means.&rdquo\;

Marc Camille Chaimowicz w as born in postwar Paris and has had major solo exhibitions internationally at the Serpentine Gallery\, London\, Le Consortium\, Dijon\, Nottingham Co ntemporary\, Nottingham\, Secession\, Vienna\, Inverleith House\, Edinburgh and inaugurated the new Artist Space with a solo installation in 2009. His works have been included in several group shows at Weltkulturen Museum\, F rankfurt\; the Tate Britain\, Raven Row\, and the Royal Academy of Arts all in London and in 2008 his work was included in the Berlin Biennial for Con temporary Art.

DTEND:20140510 DTSTAMP:20140424T005145 DTSTART:20140405 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Gustave 2014….\, Marc Camille Chaimowicz UID:330953 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For her fourth solo show at Anton Kern Gallery\, British pho tographer Sarah Jones presents twenty-one new images from her Cabinet\, Vit rine\, Rose Gardens\, and Horse series. They are immersed in the deep black tone of highly saturated C-prints\, many made from black-and-white negativ es\, and strike a distinct note between straight un-manipulated documents a nd profoundly emotive image inventions. Following on from the recent public ation of her monograph by Violette Editions as well as her one-person exhib ition at the Minneapolis Institute of Arts\, Jones&rsquo\; new photographs continue to explore how subjects are measured and<\; transcribed through the large format view camera and flattened in pictorial space.
Over th e years themes such as the analyst&rsquo\;s couch\, the municipal rose gard en as still life in-situ\, the drawing studio and the singular female subje ct have been central to her concerns. Her photographs are often made on loc ation and illuminated with carefully controlled lighting that allows the su bject to both emerge from and recede into a darkened space. Through the use of analogue techniques Jones studies the correspondence between the skein of the film\, the surface of the photographic print and the surface of her subjects. For Jones this attention to materiality brings to mind the act of mark making in drawing.
Jones has previously used the diptych as a fo rmal device and direct reference to early stereographic photographs in orde r to present two perspectives of a single form. The recent diptychs conside r the act of doubling and the alchemic nature of the photographic process b y literally flipping an image. One becomes an imprint or reflection of the other recalling the Rorschach inkblot. In such an act of mirroring\, Cabine t (II) (After Man Ray) (I) and (II) picture a curved glass object that reca lls Man Ray's Le Violon d&rsquo\;Ingres\, (1924). Other works in the exhibi tion reflect on the photographic language of Florence Henri\, Karl Blossfel dt and Eugene Atget.
Born in London\, in 1959\, Sarah Jones lives and works in London. Previous solo exhibitions include New Pictures 8\, Minneap olis Institute of Arts\, USA\, 2013\; Sarah Jones: Photographs\, National M edia Museum\, Bradford\, 2007\; Huis Marseille Foundation for Photography\, Amsterdam\, 2000\; Museum Folkwang Essen\, Essen\, 1999\; Centre for Photo graphy\, Universidad de Salamanca\, Spain\, 1999\; Museum Reina Sofia\, Mad rid\, 1999\; Le Consortium\, Dijon\, France\, 1997. Recent group exhibition s include Seduced by Art: Photography Past and Present\, National Gallery\, London\, UK and CaixaForum Barcelona\, and CaixaForum Madrid\, 2013\; Der Mensch und seine Objekte\, Museum Folkwang\, Essen\, 2012\; Observers: Phot ographers of the British scene from 1930s to now\, Galeria de Arte do Sesi\ , Avenida Paulista\, Sao Paulo\, 2012\; Nothing In the World But Youth\, Tu rner Contemporary\, Margate\, UK\, 2011\; Signs of a struggle: Photography in the Wake of Postmodernism\, Victoria and Albert Museum\, London\, UK\, 2 011\; A Sense of Perspective\, Tate Liverpool\, Liverpool\, UK\, 2011\; Por traits\, Bloomberg Space\, London\, UK\, 2008\; Street &\; Studio: An Ur ban History of Photography\, Tate Modern\, London and Museum Folkwang\, Ess en\, Germany\, 2008.

DTEND:20140426 DTSTAMP:20140424T005145 DTSTART:20140327 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sarah Jones UID:328332 END:VEVENT BEGIN:VEVENT DTEND:20140327T200000 DTSTAMP:20140424T005145 DTSTART:20140327T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Sarah Jones UID:328333 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20140426 DTSTAMP:20140424T005145 DTSTART:20140327 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Lava\, Wilhelm Sasnal UID:328334 END:VEVENT BEGIN:VEVENT DTEND:20140327T200000 DTSTAMP:20140424T005145 DTSTART:20140327T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Lava\, Wilhelm Sasnal UID:328335 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Saturdays at 4pm:
An accompanying performance series or ganized by Regina Miranda will feature:
Claire Porter\, Frederick Curr y\, Mariangela Lopez\, Patricia Niedermeier\, and others.

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Our bodies and our lives are defined by codes. Smart phone apps tell us where we are\, genetic codes map our past and future\, and religious codes mandat e what we can put in and on our bodies. Exoskeletons running military softw are promise to turn us into real-life iron men\, fashion designer-coders wr ite programs that automatically generate 3D printed clothing\, and robotici sts work tirelessly to build human replicas.
Codes and machines are vo raciously claiming more and more of our time\, our attention\, and our phys ical selves. With each new year we spend more time interacting with compute rs and less time interacting with people and our natural environment. Abstr act mathematical frameworks are increasingly portrayed as the only valid wa y to make sense of the world. Humanist approaches wield less and less influ ence. Many of us occupy this landscape with fascination\, enchantment\, and unease.
Coding the Body interrogates the relationships between humans and code. It explores how code is being used to understand\, control\, dec orate\, and replicate us. The exhibition celebrates the beauty of code and its manifestations while casting a wary eye on its ever expanding power.

DTEND:20140510 DTSTAMP:20140424T005145 DTSTART:20140320 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Coding the Body\, Francis Bitonti\, Kelly Dobson\, Ben Fry\, Yves G ellie\, Eunsuk Hur\, The Laban Institute of Movement Studies\, Nervous Syst em\, Cait Reas\, Casey Reas\, Diane Willow\, Amit Zoran UID:324749 END:VEVENT BEGIN:VEVENT DTEND:20140319T200000 DTSTAMP:20140424T005145 DTSTART:20140319T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Coding the Body\, Francis Bitonti\, Kelly Dobson\, Ben Fry\, Yves G ellie\, Eunsuk Hur\, Cait Reas\, Casey Reas\, The Laban Institute of Moveme nt Studies\, Nervous System\, Diane Willow\, Amit Zoran UID:324750 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Ogden Minton Pleissner said that he could be called &ldquo\; a landscape painter\, a painter of landscapes who also liked to hunt and fi sh.&rdquo\; He traveled out West\, to Quebec\, through New England and the South prepared with both fishing and sketching equipment. The Arkell collec tion includes both watercolors and oil paintings by this American artist wh o found success as an artist with his first solo show at Macbeth Gallery in 1933. Works in the Arkell collection date from 1936-1942 and depict divers e locations that include southern United States\, Wyoming\, Nebraska\, and war time in the Aleutian Islands.

DTEND:20140601 DTSTAMP:20140424T005145 DTSTART:20140215 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Watercolors and Oil paintings from the Arkell Collection\, Ogden Pl eissner UID:319056 END:VEVENT BEGIN:VEVENT DTEND:20140215T170000 DTSTAMP:20140424T005145 DTSTART:20140215T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Watercolors and Oil paintings from the Arkell Collection\, Ogden Pl eissner UID:319057 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition features painted\, sketched and printed views of the Mohawk River and Erie Canal from the mid 18th through the 21st cent ury.

DTEND:20140601 DTSTAMP:20140424T005145 DTSTART:20140215 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Of Time and the Mohawk River UID:319058 END:VEVENT BEGIN:VEVENT DTEND:20140215T170000 DTSTAMP:20140424T005145 DTSTART:20140215T123000 GEO:42.907359;-74.572002 LOCATION:Arkell Museum\,2 Erie Boulevard \nCanajoharie\, NY 13317 SEQUENCE:0 SUMMARY:Of Time and the Mohawk River UID:319059 END:VEVENT END:VCALENDAR