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NURTUREart is pleased to present On The Golden Wire for Thirty Four\, a collaboration between Marysia Gacek\, Natalie Häusler\, and Katharina Marszewski. Starting with the general idea of an exchange of content between artists\, the initial f ocus is put on the materiality of such content\, rather than its possible m eaning.

The point of departure is the limit: weight and volume of the most standard international package between the USA\, UK and German y. Each collaborator supplies one third of the materials and contributes to one Care Package*\, which will travel from New York to Berlin to Glasgow t o Berlin\, before returning to its city of origin.

This exchan ge of matter focuses on the process\, rather than what it manifests itself as in the end. The package is meant to supply three artists with the same m aterials to work with\, without a pre-envisioned outcome. The collaboration examines individual methodologies leading to creating work using a model o f giving and taking away.

When the package returns to New York \, it will be put on display alongside artworks inspired by its content in a gallery exhibition at NURTUREart.

*Although “CARE packag e” is a registered trademarked term\, originating in the wake of a World Wa r II campaign to send food and supplies to Europe\, the expression is still used in everyday vernacular to share the idea of providing comfort by send ing food\, supplies and small mementos. In 1945 Americans were given the op portunity to purchase a care package for 10 dollars to send to their friend s or relatives. In 1962 President John F. Kennedy said that every CARE pack age is a personal contribution to the world peace and it expresses concern and friendship in a language all peoples understand.

DTEND:20130402 DTSTAMP:20141222T154249 DTSTART:20130315 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:On the Golden Wire for Thirty-Four\, Marysia Gacek\, Natalie Haüsle r\, Katharina Marszewski UID:263356 END:VEVENT BEGIN:VEVENT DTEND:20130315T210000 DTSTAMP:20141222T154249 DTSTART:20130315T190000 GEO:40.7060542;-73.9334513 LOCATION:NURTUREart Gallery\,56 Bogart Street \nBrooklyn \, NY 11206 SEQUENCE:0 SUMMARY:On the Golden Wire for Thirty-Four\, Marysia Gacek\, Natalie Haüsle r\, Katharina Marszewski UID:263357 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Walter Wickiser Gallery is pleased to announce an exhibition of Soile Yli-Mäyry\, Recent Paintings\, from March 2nd\, 2013 - Apr il 3rd\, 2013. 

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"Soile Yli-Mäyry is one of Finland’s most renowned painters. Her works’ surfaces are intensely magicalized\; they have an appa ritional quality....This international artist’s vision\, grounded as it is in the body\, also sustains the use of sumptuous radiating chromatics sugge stive of ethereal curtains of colors in turn recall the atmospheric conditi ons of the aurora borealis or the spectral flickering emissions of Lapland’ s “Northern Lights."...Yli-Mäyry’s primal paintings speak to a life-long ex perience of being alive to one’s own fate and destiny.  The artist’s painte rly vision fills us\, as beholders\, with a sense of wonderment at it all. In so doing Soile Yli-Mäyry’s vision takes us into the waves of her imagina tion\, radiating." 

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DTEND:20130403 DTSTAMP:20141222T154249 DTSTART:20130302 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Recent Paintings \, Soile Yli-Mäyry UID:263714 END:VEVENT BEGIN:VEVENT DTEND:20130309T200000 DTSTAMP:20141222T154249 DTSTART:20130309T180000 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Recent Paintings \, Soile Yli-Mäyry UID:263715 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130403 DTSTAMP:20141222T154249 DTSTART:20130302 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ha Jung Woo UID:263716 END:VEVENT BEGIN:VEVENT DTEND:20130309T200000 DTSTAMP:20141222T154249 DTSTART:20130309T180000 GEO:40.7499366;-74.005949 LOCATION:Walter Wickiser Gallery\,210 11th Ave. Suite 303\nNew York\, NY 10 001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Ha Jung Woo UID:264753 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Sebastian + Barquet is pleased to present  Reading Rooms \, a group show curated by Matthew Weinstein with selected works by Ge offrey Bradfield\, Wendell Castle\, Joe Colombo\, Pedro Friedeberg\, Graham Greene\, Arturo Gomez Guerra\, Johanna Grawunder\, Anna Kavan\, Aranda &am p\; Lasch\, Peter Macapia\, Carlo Molino\, Ico Parisi\, Charlotte Perriand\ , Phillip Lloyd Powell\, Alain Robbe-Grillet\, Krueck &\; Sexton\, Georg es Simenon\, Muriel Spark\, Andrzej Stasiuk\, Lynne Tillman\, and Mae West.

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        As the physical object of the novel dissolves into pure in formation\, it’s relationship to artistic issues of physicality and visual imagery becomes more and more tenuous. The look of book covers that we reme mber from our formative years of reading\, the smell of certain books\, the size of them and the typeface that we are given (as opposed to the ones we can choose on a digital reading device) are all dying properties. But the body must rest someplace while the mind reads. Where we read\, what we recl ine or sit on while we read\, the light that illuminates the space around u s while we read and the rug or floor beneath our feet while we read are end uring physical factors that define our experience of reading. If you read M oby Dick on an iPhone over the course of a year of subway commutes\, your e xperience of it will be very different from your experience of it if you re ad a chapter a night before going to sleep in your own bed.

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        Reading Rooms is a  group show of authors and designers curated by artist Matthew Weinstein. Weinstein will arrange seven reading areas in a large open space\, using Sebastian + Barquet’s extensive archive of moder n\, postmodern and contemporary furniture. Each area will consist of a seat and a lamp\; maybe a side table\, a rug or an object will further define t he arrangement. Each of these arrangements has been inspired by a novel cho sen by Weinstein\, and these novels will be available for people to read.   For the duration of the exhibition\, anybody can come in and read\, for as long as they like. They will either be attracted by the novel or by the sea ting area when they make their choice of where to sit. In the open space\,  readers can watch each other read or viewers can watch people reading. A si lent performance will take place every day in Reading Rooms\, base d on who is in there and what they are doing. 

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        We are often alone while we read\, but often we are in bed with a partner\, on the subw ay\, in an airplane or in a coffee shop. Reading is a way of establishing o ne’s privacy while one is in public. Pretending to read is a classic way of avoiding talking to someone\, or of spying on someone. This exhibition is about public and private space as people can elect to be reader or viewer. The envelope of space around the reader becomes a kind of sculpture\; a thi ng we know we are not supposed to approach too closely or pass through. 

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        Reading Rooms also considers the challenge that read ing poses in a fast paced culture. It is a challenge to break from one’s da y and sit down and read for half an hour. Reading is a way of claiming time as well as space and privacy. It is becoming\, more and  more\,  a  person al rebellion against the social demand that we pack more and more activitie s into the non-expansive space of one hour. 

DTEND:20130405 DTSTAMP:20141222T154249 DTSTART:20130228 GEO:40.7517421;-74.0078434 LOCATION:SEBASTIAN + BARQUET\,601 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:“Reading Rooms”\, Geoffrey Bradfield\, Wendell Castle\, Joe Colombo \, Pedro Friedeberg\, Graham Greene\, Arturo Gomez Guerra\, Johanna Grawund er\, Anna Kavan\, Aranda & Lasch\, Peter Macapia\, Carlo Molino\, Ico Paris i\, Charlotte Perriand\, Phillip Lloyd Powell\, Alain Robbe-Grillet\, Kruec k & Sexton\, Georges Simenon\, Muriel Spark\, Andrzej Stasiuk\, Lynne Tillm an\, Mae West UID:259810 END:VEVENT BEGIN:VEVENT DTEND:20130228T200000 DTSTAMP:20141222T154249 DTSTART:20130228T180000 GEO:40.7517421;-74.0078434 LOCATION:SEBASTIAN + BARQUET\,601 West 26th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:“Reading Rooms”\, Geoffrey Bradfield\, Wendell Castle\, Joe Colombo \, Pedro Friedeberg\, Johanna Grawunder\, Graham Greene\, Arturo Gomez Guer ra\, Anna Kavan\, Aranda & Lasch\, Peter Macapia\, Carlo Molino\, Ico Paris i\, Charlotte Perriand\, Phillip Lloyd Powell\, Alain Robbe-Grillet\, Kruec k & Sexton\, Georges Simenon\, Muriel Spark\, Andrzej Stasiuk\, Lynne Tillm an\, Mae West UID:259811 END:VEVENT BEGIN:VEVENT DESCRIPTION:

a time based destruction installation over 5 days

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130402 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:100 YRS\, Part 2\, Doug Aitken UID:269148 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Inaugurating its representation of Harmony Hammond\, Alexand er Gray Associates is pleased to present Broken Spaces: Cut\, Mark\, and Ge sture\, a group exhibition examining the parallel conceptual and formal pra ctices of Luis Camnitzer\, Jeremy Gilbert-Rolfe\, Harmony Hammond\, Lorrain e O’Grady\, Hassan Sharif\, and Jack Whitten. Focused on process-oriented\, conceptual works on paper\, the exhibition highlights each artist’s experi mentation with boundaries of media and form.

Harmony Hammon d’s charcoal drawings and mixed media works on paper investigate post-m inimal processes and materials. 
In her mixed media works\, Hammond experim ents with printmaking and crafting materials. Her charcoal drawings serve a s 
studies for the iconic 1970s floor sculptures\, utilizing braiding and w eaving\, referencing women’s traditional arts\; her recent “Grommetypes” pu ncture and mold paper with ink and watercolor. In etchings begun in the lat e 1960s\, Luis Camnitzer plays with the language of printmaking and text-based art. In Shift (1968)\, Camnitzer explores conceptual mean ings of identity and perspective\, while breaking ground with etching and d ie-cutting techniques. Lorraine O’Grady’s Cutting Out the New Yor k Times (1977/2010) is a series of 26 poems created from newspaper clip pings. In these works\, created on successive Sundays spanning six months\, O’Grady produced collaged poems made from public text\; presented as wall- mounted installations\, the poems hover between language and image\, person al and political. Jack Whitten’s works on paper from the 1970s prese nt an experimental approach to art-making. During this period\, Whitten app lied a wide array of media—including oil\, magnetite\, and acrylic—to creat e abstractions\, highlighting the artist’s interest in surface and form\, l ine and void. In Closed Loops #2 (2012)\, Whitten pushes the boundar ies of acrylic in a compositionally complex\, sculptural work that exemplif ies Whitten’s inventive abilities. Hassan Sharif’s line drawings dem onstrate the artist’s interest in art-making processes. The artist’s preocc upation with conceptualism is evident in the repetitive gestures and system atic compositions of his drawings\, making reference to caligraphic traditi ons\, architectural form\, and urban planning. Jeremy Gilbert-Rolfe’ s drawings challenge contemporary ideas of aesthetics and purpose. In his w orks on view\, Gilbert-Rolfe manipulates the Modernist grid and applies hyp er-saturated color to question painting’s position in a post-Modern context .

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130227 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Broken Spaces: Cut\, Mark\, and Gesture\, Luis Camnitzer\, Jeremy G ilbert-Rolfe\, Harmony Hammond\, Lorraine O'Grady\, Hassan Sharif\, Jack Wh itten UID:261260 END:VEVENT BEGIN:VEVENT DTEND:20130227T200000 DTSTAMP:20141222T154249 DTSTART:20130227T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Broken Spaces: Cut\, Mark\, and Gesture\, Luis Camnitzer\, Jeremy G ilbert-Rolfe\, Harmony Hammond\, Lorraine O'Grady\, Hassan Sharif\, Jack Wh itten UID:261261 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For this fifth solo exhibition at Anton Kern Gallery\, Polis h artist Wilhelm Sasnal has selected a group of paintings and works on pape r around the theme of Kodak\, the now defunct film and camera manufacturer.
Some works make direct references to specific products\, advertisemen ts and to Kodak’s founder George Eastman\, others create a “capture the mom ent” atmosphere addressing issues of picture-taking and picture-making.
It comes as no surprise that a painter and filmmaker like Wilhelm Sasnal would make Kodak the subject of his work. Since their invention\, film and cameras have fascinated and challenged painters. Specifically\, as Kodachro me film gained a reputation for its reproduction of “true colors”\, the ide a of reality\, naturalism and truth in painting has been reformulated by ar tists in various ways. In addition\, the Kodak pocket camera’s ability to c apture a fleeting moment\, along with the branding of the so called “Kodak moment” has liberated everyday photographers and created a universal cultur e of vernacular images that has the potential to turn ordinary events into private historical moments.
Sasnal’s position in regards to all of thi s is one of analytic observation and intuitive transformation. Known for hi s wide range of painterly methods\, evident in these new paintings\, Sasnal ’s work deals with the underlying and subconscious presence of the history of an image\, place or situation. As much as the artist is indebted to the physicality of film stock and cinematography\, including its many visual ef fects\, Sasnal creates every image as a singular event\, both in his chosen motif and in the pictorial mode in which it is painted. Despite their subj ect’s universal nature\, these works are delicate and precise\, yet also si ngularly striking reflections on the nature of personal and collective memo ry. Sasnal’s paintings capture the fleeting moment twofold\, once as a mome nt brought to a halt\, quite like a photograph\, and secondly as an unravel ing of sub-conscious layers of meaning and history\, quite beyond the capab ility of photography.
Sasnal’s work has most recently been featured in solo exhibitions at the Haus der Kunst\, Munich (2012)\, Whitechapel Galle ry\, London (2011)\, K21\, Düsseldorf (2009)\, and will be presented this f all in a major retrospective at the MSN Museum of Modern Art in Warsaw. His work has been included in group shows such as Image Counter Image\, Haus d er Kunst\, Munich (2012)\, Painting Between The Lines\, CAA\, San Francisco (2011)\, The Reach of Realism\, MOCA Museum of Contemporary Art\, Miami (2 009)\, the 55th Carnegie International\, the Glasgow International (both 20 08)\, Musée d’ Art Moderne de la Ville de Paris\, MoMA\, New York (both 200 7)\, the Stedelijk Museum in Amsterdam\, where he won the 2006 Vincent Van Gogh Biennial Award for Contemporary Art\, the National Museum of Art in Os aka\, the Museu Serralves in Porto (all 2006)\, and the Biennale de Sao Pau lo (2004). Sasnal's most recent feature-length film "It Looks Pretty From A Distance" has been screened at New Horizons Film Festival Poland (2011)\, Rotterdam Film Festival\, Munich Film Festival\, Crossing Europe Film Festi val\, Jeonju International Film Festival Korea\, Hong Kong International Fi lm Festival\, and New Directors New Films Festival\, New York (all 2012). DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130222 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Wilhelm Sasnal UID:261264 END:VEVENT BEGIN:VEVENT DESCRIPTION:

bitforms gallery is pleased to announce Angles\, a fifth solo exhibition in New York with Israeli-American artist Daniel Rozin. Since the late 1990s\, Rozin’s constructions in software and sculptu re have investigated the psychological and optical cues inherent to image b uilding\, such as pattern and the materiality of the picture plane. In a de parture from the traditional rectilinear grid\, which was the foundation of his 2010 exhibit X by Y\, Rozin’s new series of work proposes anoth er geometric basis of image creation. Focusing on rotational systems of ori entation\, Angles celebrates the polar\, or angular\, notations of p ictographic information. Using the triangle and sculptural elements that tw ist their shape\, Rozin’s conversation of the grid highlights a new dimensi onality of formal representation.

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In Rozin’s work\, the p icture plane’s transformation is a means to explore animated behavior\, rep resentation and illusion. Merging the geometric with the participatory\, Ro zin’s installations have long been celebrated for their kinetic and interac tive properties. Grounded in gestures of the body\, three pieces in the exh ibit Angles are mirrors of various sorts and respond to the presence of viewers in real time by recreating a visual representation of their lik eness.

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Fan Mirror is a free-standing s culpture that measures fourteen feet across. Its overall shape and rounded frame suggest the folded oriental hand fan\, a decorative object that first emerged in the 10th century and gained popularity during the Mi ng Dynasty. The sculpture is comprised of seventeen ribbed wooden spokes th at support a total of 153 hand fans\, in an array of sizes and colors\, fro m Korea\, China\, Taiwan\, Spain and Japan. Crafted from materials ranging from sandalwood and synthetic silk to plastic\, each fan is actuated by a m otor that is computer controlled\, causing the bands to spread open and rhy thmically close. Sweeping patterns roll across Fan Mirror’s arced su rface\, blossoming in rings that resemble an onion peel or peacock’s tail. The sequence of movement in this work is directed in part by the viewer’s e ngagement. When approached at close range\, the fans\, which are also conne cted to a camera\, move to create a rough silhouette of the viewer within t he sculpture. When viewing from a distance\, the movement is generated by a n algorithm programmed by the artist.

The Angles Mirror rejects the idea of building a picture based on relative lightness and dar kness. Instead\, it explores a system of linear rotation that indicates the direction of an object’s contour. A wall-mounted sculpture\, the Angles Mirror is a sharp triangular block of steel\, dotted with yello w indicator arms that pivot. Based on the isometric grid\, its structure fa vors the patterns and angles found in an equilateral triangle. The arms\, w hich do not have the ability to change brightness or luminosity\, use input from a camera and reconstruct the view with areas of varying angles. The n egative space surrounding a viewer is translated into horizontal lines on t he picture plane. Rather than creating a photorealistic image\, the three-d imensional movement of a figure is represented\, visualizing optical flow a s viewer’s proximity to the sculpture changes. A nuanced contour results\, as the viewer shifts back and forth\, altering how the structure of space i s perceived. Similar to Fan Mirror\, in the Angles Mirror\, t he sequence of movement across the picture plane is directed in part by its audience. When the viewer walks away from the work\, or chooses to view th e sculpture from a distance\, a series of predefined images and transitions cover the object’s surface.

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Mirror No.12 is a color video p rojection that processes live imagery captured from a small camera. Taking upon itself the same image building restrictions as the Angles Mirror\, Mirror No.12uses the 

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rotational transformation of line as the sole means of representation. Resulting in a painterly texture\, the artist-authored software manipulates a finite set of straight lines that s pin from one position to the next\, in an attempt to replicate a visual sce ne’s angular contours and features. Cropping the camera’s frame and virtual ly torquing its imagery three-dimensionally\, the projection is bounded by an oval\, evoking the surveillant effect of an observer gazing through the peephole in a door.

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Inspired by Op Art from the 1950s and 60s\, Twisted Strips is a kinetic sculpture that explores serial image generation and perceptual illusion. Breaking the picture plane into a blac k field with twenty-one motorized white vertical strips\, the sculpture pro duces rhythmic waves of movement. The animated pattern shifts in arc and fr equency\, as the two motors on each strip continually rotate in and out of phase. Using an approach visually analogous to the tape loop structures fou nd in minimal music and phase music\, new shapes constantly flow through th e composition\, which are perceived by the eye as a singular picture in mot ion.

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130302 GEO:40.72012;-73.990339 LOCATION:bitforms gallery\,131 Allen Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Daniel Rozin: Angles\, Daniel Rozin UID:264295 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of new works by Korakrit Arunanondchai

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130209 GEO:40.7074358;-73.9326964 LOCATION:C L E A R I N G Brookyln\,396 Johnson Avenue \nBrooklyn\, NY 11237 SEQUENCE:0 SUMMARY:Painting with History in a Room Filled with Men with Funny Names\, Korakrit Arunanondchai UID:271711 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Flowers is pleased to present a colle ction of Derek Boshier’s most recent paintings titled\, Paris France\, P aris Texas\, Paris Hilton. This series is a continuation of Boshier’s e xtensive career\, which began with the Pop Art movement in the 1960s and ha s endured and evolved over several decades. The exhibition will run from Ma rch 1st through April 6th\, 2013\, with an opening reception for the artist on Thursday\, February 28th\, 2013 from 6-8pm. 

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Derek Boshier was born in England in 1937 and studied at the Royal Col lege of Art in London with David Hockney\, Allen Jones\, and R.B. Kitaj. Hi s paintings gained acclaim while he was still a student and Boshier was fea tured in Ken Russell’s film “Pop Goes The Easel” (1962) alongside fellow Br itish Pop artists Peter Blake\, Peter Philips and Pauline Boty. Over the co urse of his career\, Boshier has worked across many media including install ation art\, graphic design and film.

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With Paris France\, Paris Texas\, Paris Hilton\, Boshier reconciles the pri nciples of the 1960s Pop Art movement with the technological realities of t he modern era. The series contemporizes the spirit of the movement by depic ting Pop in digital formats. His self-described “preoccupation with popular culture” is evident in these works\; Boshier’s pieces reference icons of t he art community while also engaging with the spectacle of mass media and p aparazzi. The dualities inherent in Boshier’s subject matter are evidenced by his stylistic choices in these paintings. Achieving a state of organized randomness\, subtle grays contrast with the bright luminosity of iPhone sc reens on the canvas.

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Boshier’s intellectual restlessness and enduring curiosity have generated a varied portfolio. His work is included in many collections including the Museum of Modern Art\, N ew York\; the Museum of Fine Arts\, Houston\; the Yale Center for British A rt\, New Haven\; the Tate Gallery of British Art\, London\; the Victoria an d Albert Museum\, London\; Centro Wilfredo Lam\, Cuba and the Museum of Art in Ein Harod\, Isreal. Boshier has collaborated with several artists inclu ding The Clash and David Bowie\, and his attention to current events keeps his work perpetually connected to the social and political climate of the m oment. He lives and works in Los Angeles. 

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130301 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Paris France\, Paris Texas\, Paris Hilton\, Derek Boshier UID:253610 END:VEVENT BEGIN:VEVENT DTEND:20130228T200000 DTSTAMP:20141222T154249 DTSTART:20130228T180000 GEO:40.7464825;-74.0069332 LOCATION:Flowers Gallery NY\,529 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Paris France\, Paris Texas\, Paris Hilton\, Derek Boshier UID:253611 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Friedman Benda is pleased to announce Titus Kaphar’s 'The Vesper Projec t'. The exhibition is a massive sculptural statement - an encompassing inst allation\, in which Kaphar’s own work is seamlessly woven into the walls of a 19th-century American house.

The culmination of an intense five-year engagement with the lost storylines of the Vesper family\, the pr oject was “birthed in a state of extended disbelief\,” according to Kaphar. As the artist’s muses\, the members of the Vesper family and their histori es are intertwined with Kaphar’s autobiographical details\, and layered wit h wide-based cultural triggers of identity and truth in the context of hist orical accounting.

In 'The Vesper Project'\, period architectu re\, gilt-frames\, a vintage type-writer\, a neglected wardrobe\, old photo graphs act as seemingly recognizable elements but by employing every tool o f his trade\, Kaphar insinuates doubt and transports the viewer into a disr upted mental state. As the house fractures\, so does the viewer’s experienc e. In so doing\, Kaphar compresses times\, conflates the continuum of histo ry and postulates new powerful realities.

With many of Kaphar' s interventions present in the installation including slashing\, silhouetti ng\, and whitewashing\, this singular work is a complex map of overlapping timetables and collective genealogies. By obliterating the distance between the viewer and the work\, 'The Vesper Project' is comprehensive\, experien tial\, and it is the artist’s most ambitious expression to date.


A Panel Discussion will be held on Saturday\, March 9 at 4:00 PM< br /> "The Creative Implications of Mental Disruption"

Panelists include:
Bridget R. Cooks and Arlene Keizer\, both Universi ty of California\, Irvine
James Berger\, Yale University
Scott Barry Kaufman\, New York University (requested)
Kwamena Blankson\, Ha rvard-trained psychologist
Titus Kaphar\, Artist

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130228 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Vesper Project\, Titus Kaphar UID:260850 END:VEVENT BEGIN:VEVENT DTEND:20130228T200000 DTSTAMP:20141222T154249 DTSTART:20130228T180000 GEO:40.7497891;-74.0032111 LOCATION:Friedman Benda\,515 West 26th St 1st Floor\nNew York\, NY 10001 SEQUENCE:0 SUMMARY:The Vesper Project\, Titus Kaphar UID:260851 END:VEVENT BEGIN:VEVENT DESCRIPTION:

It's about 80% anger.

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--Jean-Michel Basquia t

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Gagosian Gallery is pleased to announce a major exhibition of wor ks by Jean-Michel Basquiat.

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Featuring over fifty works from public and private collections\, the exhibition spans Basquiat's brief but meteori c career\, which ended with his death at the age of twenty-seven. Thirty ye ars after Larry Gagosian first presented his work in Los Angeles\, twenty y ears after the first posthumous survey at the Whitney Museum of American Ar t (1992-93)\, and eight years after the Brooklyn Museum of Art retrospectiv e (2005)\, viewers will have a fresh opportunity to consider Basquiat's cen tral role in his artistic generation as a lightning rod and a bridge betwee n cultures.

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Basquiat left his family home in Brooklyn at the age of fifteen and took to the streets. A voracious autodidact\, he quickly becam e a denizen of the explosive and decadent New York underground scene--a noi se musician who loved jazz\, and a street poet who scrawled his sophisticat ed aphorisms in Magic Marker across the walls of downtown Manhattan\, copyr ighting them under the name SAMO. In 1981\, he killed off this alter ego an d began painting\, first on salvaged materials then later on canvas\, and m aking bricolage with materials scavenged from the urban environment. From t he outset he worked compulsively. He sold his first painting in 1981\, and by 1982\, spurred by the Neo-Expressionist art boom\, his work was in great demand. In 1985\, he was featured on the cover of The New York Times M agazine in connection with an article on the newly exuberant internati onal art market. It was unprecedented for an African-American artist\, and for one so young. In that photograph\, Basquiat is a vision of cool\, spraw led in a chair in front of one of his bold paintings in an elegant three-pi ece suit and tie\, with bunched dreadlocks and bare feet.

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Charismat ic image aside\, Basquiat was a unique and prodigious artistic talent\, fus ing drawing and painting with history and poetry to produce an artistic lan guage and content that was entirely his own\, and which enunciated alternat ive histories\, such as Discography (1982)\, Brothers Sausage< /em> (1983)\, and Revised Undiscovered Genius of the Mississippi Delta< /em> (1983). Combining the tools of graffiti (Magic Marker\, spray enamel) with those of fine art (oil and acrylic paint\, collage\, and oil stick)\, his best paintings maintain a powerful tension between opposing aesthetic f orces--expression and knowledge\, control and spontaneity\, savagery and wi t\, urbanity and primitivism--while providing acerbic commentary on the har sher realities of race\, culture\, and society. In vividly colored canvases \, forceful\, schematic figures and menacing\, masklike faces are inscribed against fields jostling with images\, signs\, symbols\, and words used lik e brushstrokes. The frenetic\, allover quality of many of the large works s uggests a drive towards a sort of disjunctive mapping rather than the build ing of a classically unified composition\, where seemingly unrelated marks suddenly coalesce in syncopated rhythms-like the best experimental jazz.

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Basquiat's iconography reflects the precocious breadth of his inspira tions and preoccupations--from classical poetry to human anatomy\, from spo rt to music\, from politics to philosophy\, from the arts of Africa to Pica sso\, de Kooning\, and Rauschenberg. Obnoxious Liberals (1982) and Baby Boom (1982) suggest an angry bohemian's pet peeves with cont emporary mores. There are pictographic crowns\, favored by graffiti artists to confer status\, and warriors\, whose significance is literal--as in the tributes to African American boxing champions Cassius Clay (1982) \, Jersey Joe (1983) Untitled (Sugar Ray Robinson) (1982) --or metaphorical--as in Warrior (1982) and (Untitled) Julius Caesar on Gold (1981). Cars\, cops\, street games\, and skyscrapers re flect the hustle of the city in With Strings Two (1982)\, Unti tled (L.A. Painting) (1982)\, and Irony of a Negro Policeman (1981)\, while Self-Portrait (1984) and The Thinker (1986 ) are more evidently self-referential and introspective. The skull\, a trad itional motif of the vanitas\, appeared very early in Basquiat's o euvre and remained a constant obsession amidst a thick and fast flow of sub jects. Consider this when comparing the whimsical Bicycle Man (198 4) and Riding with Death (1988)\, painted just four years later: t he man on a bicycle in the earlier painting has been transformed into a nak ed figure astride a skeletal horse in the later one-a somber\, elegiac imag e with which Basquiat the supernova\, buckling under the alienating effects of fame and addiction\, ended his career and his life.

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< strong>Jean-Michel Basquiat was born in New York City in 1960\, wh ere he died in 1988. Major exhibitions include "Jean-Michel Basquiat: Paint ings 1981-1984\," Fruitmarket Gallery\, Edinburgh (1984\; traveled to Insti tute of Contemporary Arts\, London\; and Museum Boijmans Van Beuningen\, Ro tterdam\, through 1985)\; Kestnergesellschaft\, Hannover (1987\, 1989)\; Wh itney Museum of American Art\, New York (1993\; traveled to Menil Collectio n\, Houston\; Des Moines Art Center\, Iowa\; and Montgomery Museum of Fine Art\, Alabama\, through 1994)\; "Basquiat\," Brooklyn Museum of Art\, New Y ork (2005\; traveled to Museum of Contemporary Art\, Los Angeles\; and Muse um of Fine Arts\, Houston\, through 2006)\; and Fondation Beyeler\, Basel\, Switzerland (2010\; traveled to Musée d'art moderne de la ville de Paris). Basquiat starred in Downtown 81\, a verité movie that was written by Glenn O'Brien and shot by Edo Bertoglio in 1981\, but not released unti l 1998.

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DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130207 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Solo Exhibition\, Jean-Michel Basquiat UID:257400 END:VEVENT BEGIN:VEVENT DTEND:20130207T200000 DTSTAMP:20141222T154249 DTSTART:20130207T180000 GEO:40.7492112;-74.0056893 LOCATION:Gagosian Gallery- 24th St.\,555 West 24th Street \nNew York\, NY SEQUENCE:0 SUMMARY:Solo Exhibition\, Jean-Michel Basquiat UID:257401 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Jack Shainman Gallery is pleased to announc e Heart Hands Eyes Mind\, Barkley L. Hendricks’ fir st solo exhibition with the gallery. The show will include photographs\, la ndscape paintings and the portrait paintings for which he has become most k nown\, spanning over forty years of his artistic practice.

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Hendrick s has always worked between the realms of photography and painting\, having studied with Walker Evans at Yale. He was introduced early on to portraitu re through the perspective of the camera’s lens. The photographs in Hea rt Hands Eyes Mind\, most of which have never been exhibited before\, range from the candid street photograph\, to landscape\, to the portrait. T hey can be used to bridge seemingly varied formal themes that are in fact i nextricably linked and continuously intertwined\, evidence of Hendricks’ pe rpetual experimentation and evolution.

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Throughout his career\, Hend ricks has refused to be boxed into a space designed by an outside force or market\, and\, much like his subjects\, his practice is commanding\, bold a nd without limitations to media or to form. His chief concerns lie in the m oment\, both in capturing it and creating it. The paintings are a direct en gagement with art history\, the tradition of portraiture and a confrontatio n of institutional portrayal of the black subject. And while the severity o f the subject’s gaze can be piercing\, Hendricks invokes a persistent humor through the titling of his pieces\, mitigating the gravity of the message and allowing for an opening into the work.

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Akin to Hendricks’ engag ement with the old masters of European portraiture\, his landscape painting s also create a discourse with history while intimately tying into his own experiences. He has routinely traveled to Jamaica for the past thirty years \, a place of cultural significance that lends its physical beauty to the f ormal act of painting. Each piece is adorned with a gilded frame that trans forms these encapsulated views into portals to another time. Every painting is made in one long day of sitting\, representing a perspective that canno t be duplicated.

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When viewing Hendricks’ work\, either from the 70s \, 80s\, 90s or now\, the experience is simultaneously of its time and time less. This exhibition gives us the opportunity to be introduced and reintro duced to characters and spaces while traveling with the artist through his own exploration and discovery.

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Barkley L. Hendricks was born in Phi ladelphia\, Pennsylvania\, and currently lives and works in New London\, CT . He earned both his BFA and MFA from Yale University and was the subject o f a large-scale traveling exhibition\, Barkley L. Hendricks: Birth of t he Cool\, organized by Trevor Schoonmaker at the Nasher Museum of Art\ , Duke University\, Durham\, North Carolina (2008)\, which traveled to the Studio Museum in Harlem\, New York (2008-2009)\, Santa Monica Museum of Art \, California (2009)\, Pennsylvania Academy of the Fine Arts\, Philadelphia (2009-2010) and the Contemporary Arts Museum Houston\, Texas (2010).

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His work is included in numerous public collections both within the Unit ed States and abroad\, such as The National Gallery of Art\, Washington\, D C\; The Tate Modern\, London\, UK\; Studio Museum\, Harlem\, NY\; Philadelp hia Museum of Art\, Philadelphia\, PA\; Rubell Family Collection\, Miami\, FL\; Nasher Museum of Art\, Durham\, NC\; Columbus Museum of Art\, Columbus \, OH\; and the Fogg Art Museum\, Harvard University\, Cambridge\, MA.

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130228 GEO:40.7462265;-74.0062341 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: HEART HANDS EYES MIND\, Barkley L. Hendricks UID:261226 END:VEVENT BEGIN:VEVENT DTEND:20130228T200000 DTSTAMP:20141222T154249 DTSTART:20130228T180000 GEO:40.7462265;-74.0062341 LOCATION:Jack Shainman Gallery 20th Street\,513 W. 20th St. \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: HEART HANDS EYES MIND\, Barkley L. Hendricks UID:262345 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The 24th Street space opened quietly this past Saturday in c onjunction with Barkley L. Hendricks’ exhibition at the 20th Street locatio n. The exhibition will include new paintings in a similar vein for which th e artist is most known\, with a selection of lesser known photographs Hendr icks has been taking since the late 1960s. The auxiliary space will allow t he artist to introduce this part of his practice to a large audience for th e first time.

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130302 GEO:40.7489192;-74.0050579 LOCATION:Jack Shainman Gallery 24th Street\,524 West 24th Street \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: Heart Hands Eyes Mind\, Barkley L. Hendricks UID:264236 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Leo Koenig Inc. is pleased to present "Not Human"\, Brandon Lattu’s fourth solo exhibition with the Gallery. "Not Human" centers around two distinct bodies of work\, projected slide shows and sculptural photogr aphic reliefs. Both types of work extend Lattu’s ongoing considerations abo ut the current ideological stakes of the photographic image in relation to the archive as well as particular legacies of Modernism\, including the rea dymade and the monochrome.

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In the main gallery\, two slide shows ar e separated by a long curtain and projected onto opposite walls. Culled fro m the artist’s extensive archive of more than 120\,000 digital and scanned photographs\, "Not Human" (2013) is comprised by a timed sequence of ordere d images.

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Within each frame\, one finds the picture of an environme nt. Each environment includes a billboard\, a bus shelter\, a store window or some form of display in which the image of a person's face is incidental . In this progression\, no single image bears any relation to its previous image\, formally or geographically. Frames are tethered by a very brief ove rlap between one illuminating and one disappearing face\, both of which are situated in the same section of their respective frames\; their common fea ture is position. Visage after visage\, the overall sequence limns the digi tally and surgically altered apparatus of idealized archetypes. These are c onstructed images of constructed people that have been presented in public for private adaptation.

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On the opposite wall\, another slide show f lickers silently at a different rate. "Smarter Than A Dog\, Faster Than Any thing" (2013) takes as its starting point a single image\, sometimes uncann y and more often banal\, from Lattu’s archive. Each image has been run thro ugh Google’s image search engine in an effort to find a similar or correspo nding match. The yield varies. A stucco wall painted peach near a patch of grass mysteriously attracts wedding images. Flesh attracts flesh. Each orig inary image repeats momentarily between approximations chosen by the artist revealing cosmologies formed by hit and miss results. The machine\, though capable of accessing a greater breadth of images faster than any archive i n history\, often reveals its not-quite-human status.

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An encounter with the second body of work on view\, "Selected Compositions"\, begins in the center gallery and coils into the east gallery. Further developing his "Random Composition" series from 2010\, Lattu brings together four separate images from his archives to serve as the material (and conceptual) support for the monochromatic ‘face’ of a geometric sculptural volume that protrud es from the wall. The single color covering the face spills over each edge and fades onto the discrete depictive images that occupy each side\, partia lly obscuring content. This obfuscation at once invites more detailed inspe ction and acknowledges a co-constructive relationship between pure image an d pure color. While these works\, like the slide presentations\, adhere to a general format\, each "Selected Composition" is unique in that it differs in shape\, size\, image and color according to the artist’s chosen prefere nces.

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Lattu deftly builds upon his previous works with architecture and environmental signage ("Building Obscured by Signs"\, 1999\; "Miracle Mile"\, 2000\; "Repeat"\, 2006\; "Fleetwood Billboard"\, 2010)\, archives ( "Selected Products"\, 2001\; "Rejected Products"\, 2001\; "The Library Seri es"\, 2006-2008) and projected images ("Water Under The Bridge"\, 1998\; "U ntitled Slide Piece"\, 2006)\, while still deferring to the subjective proc esses of archiving and editing that undergirded the Structuralist slide sho ws of Ad Reinhardt. Despite an ever expanding\, sped up\, and ubiquitous im age world\, Lattu refuses the oppositional position of pure abstraction and presents a case for the use of photographs – analog or digital - as tools for critical knowledge production and agency.

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Brandon Lattu’s work has been shown in solo exhibitions at The Happy Lion\, Los Angeles\, Leo Ko enig Inc.\, New York\, Vacio 9\, Madrid\, Monte Clark Gallery\, Vancouver a nd the Kunstverein Bielefeld\, Germany. Recent group exhibitions include: " Electric Fields\, Surrealism and Beyond"\, Museum of Contemporary Art\, Sha nghai\; "Attitude Cinema"\, Pesaro Film Festival\, Italy\; "How Many Billbo ards"\, MAK Center for Art and Architecture\, West Hollywood\; "Walker Evan s and the Barn" at the Stedelijk Museum\; Amsterdam\; "Image for Image"\, a t the Museum Ostwall\, Dortmunder\, Germany\; "Tractatus Logico-Catalogicus "\, Vox centre de l’image contemporaine\, Montreal\; and "The Movement of I mages"\, at the Centre Pompidou\, Paris. Lattu lives and works in Los Angel es. He is an associate professor at U.C. Riverside.

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130228 GEO:40.745209;-74.005394 LOCATION:Koenig & Clinton\,459 West 19th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Not Human\, Brandon Lattu UID:261228 END:VEVENT BEGIN:VEVENT DTEND:20130228T200000 DTSTAMP:20141222T154249 DTSTART:20130228T180000 GEO:40.745209;-74.005394 LOCATION:Koenig & Clinton\,459 West 19th St \nNew York\, NY 10011 SEQUENCE:0 SUMMARY: Not Human\, Brandon Lattu UID:261229 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Traveling Exhibition Of Moving Image By Over Thirty Nordic Artists
Launches Throughout New York City
March 31 to April 6\, 2013
Nordic Outbreak Symposium\, Ap ril 6 at Scandinavia House\, 58 Park Avenue

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www.nordico utbreak.streamingmuseum.org
www.streamingmuseum.org

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(New York\, N.Y.) &ndash\; Streaming Museum is pleased to present Nordic Ou tbreak\, an exhibition of over 30 moving image artworks by established and emerging contemporary Nordic artists curated for public space. Organiz ed by curators Nina Colosi and Tanya Toft the exhibition program launches i n New York City and will travel throughout the Nordic region and internatio nally. Nordic Outbreak will be viewed as large projections and on screens in public spaces\, on its website\, and at partnering arts\, cultur al and architectural centers.

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Nordic Outbreak opened on Ma rch 1st with a new version of Bjö\;rk&rsquo\;s Mutual Core vid eo by Andrew Thomas Huang\, which is on view nightly through March 31st dur ing Times Square&rsquo\;s &ldquo\;Midnight Moment&rdquo\;\, a collaboration between Times Square Advertising Coalition and Times Square Arts.The exhib ition of this work\, simultaneously displayed across 15 of the largest scre ens in Times Square\, is a prelude to a series of events and exhibitions th at will take place March 31st to April 6th.

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Nordic Outbreak reflects an open exhibition structure for the museum without walls and co ntemporary ways of engaging with cities through moving image.

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A sym posium and exhibition at Scandinavia House with Nordic artists\, theorists\ , and curators will take place on April 6. The symposium highlights contemp orary dynamics in aesthetics and form in moving image from the Nordic art s cene and the new modes and impact of exhibition in public space.

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Am ong other events are screenings at Dag Hammarskjold Plaza and the Manhattan Bridge Archway\, a lecture on the history of Nordic moving image\, and an evening event in the Sky Room at the New Museum.

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Speaking about the focus of Nordic Outbreak\, Danish curator Tanya Toft said\, &ldqu o\;the artworks touch upon contemporary issues that are confronting the und erpinnings of society in the Nordic region &ndash\; but which also reflect international realities and conditions in the digital age. The exhibition b rings new light on the Nordic as a diverse aesthetic concept and reveals an amazing experimental energy.&rdquo\;

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Over 30 contemporary Nordic a rtists are included in the exhibition: Eija-Liisa Ahtila\, J Tobias Anderso n\, Bjö\;rk\, Ken Are Bongo\, Jeannette Ehlers\, Efterklang\, Jette Ell gaard\, Jessica Faiss\, Marit Fø\;lstad\, Sø\;ren Thilo Funder\ , Sigurdur Gudjonsson\, Styrmir Ö\;rn Gudmundsson\, Eva-Mari Haikala\, Iselin Linstad Hauge\, Kaia Hugin\, Hanne Ivars\, Mogens Jacobsen\, Vibeke Jensen\, Jesper Just\, Hannu Karjalainen\, Antti Laitinen\, Dan Lestander\, Una Lorenzen\, Pernille With Madsen\, Dodda Maggy\, Eva Olsson\, QNQ/AUJIK \, Miia Rinne\, Egill Saebjornsson\, Magnus Sigurdarson\, Birgitte Sigmunds tad and Superflex.

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Nordic Outbreak is produced in collaboration wit h Nordic curators Daniela Arriado\, Birta Gudjonsdottir\, Kati Kivinen\, an d Jacob Lillemose.

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About Streaming Museum
St reaming Museum produces and presents contemporary-themed exhibitions of int ernational multi-media arts\, innovative ideas and related programs to a gl obal audience via mobile devices\, a network of big screens worldwide\, and at cultural and public centers. The museum was founded by Nina Colosi and since its launch on January 29\, 2008 exhibitions have been viewed on big s creens in over 55 cities on 7 continents. Programs are generated in collabo ration with a variety of cultural and educational organizations\, prominent and emerging visual and performing artists\, curators\, and visionaries ac ross fields.

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Collaborators and sponsors
Nord ic Outbreak is presented in collaboration with Scandinavia House\, MOCAtv f or the Museum of Contemporary Art\, Los Angeles\, World Council of Peoples for the United Nations\, Times Square Advertising Coalition in Partnership with Times Square Arts\, Dumbo Improvement District\, NYC Department of Tra nsportation\, Kiasma Museum of Contemporary Art\, Reykjavik Art Museum\, Da nish Architecture Center\, Screen City Festival\, Katuaq the Cultural Centr e of Greenland\, Big Screen Plaza\, Babes at the Museum\, PNEK\, AV-Arkki\, James Cohan Gallery\, NY\, Marian Goodman Gallery\, NY.

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Nordic Outbreak is supported by Nordic Culture Fund\, Nordic Culture Point\, Consulate General of Sweden\, Royal Norwegian Consulate General\, Consulat e General of Finland\, Consulate General of Denmark\, Consulate General of Iceland\, Office for Contemporary Art Norway\, Production Network for Elect ronic Art Norway\, Icelandic Art Center\, The Danish Arts Foundation.

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For press inquiries contact Kate Greenberg\, 646-405-5987
press@st reamingmuseum.org

DTEND:20130406 DTSTAMP:20141222T154249 DTSTART:20130331 GEO:40.722337;-73.992844 LOCATION:New Museum\,235 Bowery \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:NORDIC OUTBREAK\, Magnús Sigurdarson UID:326491 END:VEVENT END:VCALENDAR