BEGIN:VCALENDAR VERSION:2.0 CALSCALE:GREGORIAN PRODID:iCalendar-Ruby VERSION:2.0 BEGIN:VEVENT DESCRIPTION:

Casey Kaplan is pleased to present Matthew Brannon&rsquo\;s Skirting the Issue\, the artist&rsquo\;s 2nd solo exhibition at the gallery . Following a recent three-year &ldquo\;textploration\,&rdquo\; which inclu ded the composition of novels and text-based films and paintings\, Brannon introduces an anomalous\, primarily image-centered installation. Featuring twelve large-scale works on paper\, (and what else?)\, this exhibition focu ses on the pictorial and graphic systems that have been everpresent within the artist&rsquo\;s practice. In pursuit of a visual language tendered in a similarly suggestive manner to that of the written word through themes inf ormed by paradigms of 21st century cultural and social establishments\, Bra nnon undertakes traditional methods of printmaking\, including letterpress prints\, silkscreens\, and lush hand painting on paper.

\n

The underly ing story of the exhibition ventures into American history as Brannon explo res emotional registers within the context of the Vietnam/American War\, an d that of America&rsquo\;s suggested transition from anti-colonial to antic ommunist. In an attempt to better understand the period&rsquo\;s ambitions and anxieties\, Brannon storyboards and stages\, not as a historian\, acade mic or politician\, but obliquely (in the sense of Derrida) as an artist. P alpable references to universal yet explicit notions are made\; a suspended moment in time holds subliminal connotations that provoke larger queries i nto social ideals and our personal crises within these constraints.

\n

The imagery and objects rendered allude to the mass consumerism that rapid ly developed during the lead in to this moment (the &lsquo\;40s and &lsquo\ ;50s) in a resounding response to pop cultural idioms provided by televisio n\, film\, advertisements\, and literature. In much of the work there is a playful duality: a diploma rests opposite imagery of stereo equipment\; per fume is paired with a Western Union telegram\; and comfort food is viewed i n tandem with the U.S. capitol\, exposing a grand delusion. One of Brannon& rsquo\;s desires is to destabilize perception and allow for multiple interp retations within non-linear compositions of diverging pictorial and tempora l elements. Skirting the Issue carries this through\, releasing the experie nce by creating a forum where nothing is more suspicious than innocence.

\n

[ A R T I S T S T A T E M E N T ]

\n

Not too long ago I stood in a gallery looking at the work of one of my peers and had the thought &ndas h\; this is contemporary art. By that I mean that both the subject and the form of their work was very contemporary and very much about art. As a resp onse\, I had the liberating recognition that my own art\, long known to hav e the form of the last century\, also took as its subject the last century. Limitations are often productive.

\n

I&rsquo\;ve been quoted as havin g once said my art addresses how we are own worst enemies. I no longer ask that question. I know the answer. * I&rsquo\;d like now to concentrate on t he broader\, more complex question of how America is it&rsquo\;s own worst enemy.

\n

I was born in 1971\, 6 years into the Vietnam War\, just aft er the &rsquo\;68 Tet Offensive and before &lsquo\;73 Paris Accords. Richar d Nixon was President. I had entered a world battered from events that left the country&rsquo\;s identity in jeopardy and Luce&rsquo\;s concept of the &ldquo\;American Century&rdquo\; shattered. The context from which my gene ration was to respond was a response to those traumatic times. I didn&rsquo \;t realize it at the time but the 80s seemed very much an act of forgettin g. In psychoanalytic terms\, a trauma not dealt with always finds a way to return.

\n

I&rsquo\;ve long flirted with this Cold War context. But I& rsquo\;d like now to pursue a more concentrated research into the decision- making and events seen from the perspective of a new century. To be clear m y research is a personal one. I do this not as a historian\, or academic or politician but as an artist might begin to address a history.

\n

When I was young\, for a few years there was nothing more important than &ldquo \;Star Wars.&rdquo\; I saw it in the theatre with my family in 1977 in Alas ka after multiple attempts standing in lines to see sold out shows. I can&r squo\;t explain the excitement that film had for everyone in my 6 year-old age group. Interesting that it comes out essentially a year after the Saigo n airlift evacuation. A traumatic\, sad\, complicated\, messy\, unsatisfact ory end of a war that no one &ldquo\;won.&rdquo\; But in &ldquo\;Star Wars& rdquo\; everything was reversed: we are the good guys. We fight the guerill a warfare\, we are united with diverse nations. This isn&rsquo\;t post-colo nial fall out. The evil Empire has the nuclear bomb and they use it. We win in the end using ancient/spiritual tactics and then receive awards in a ma ssive star-studded ceremony. Everyone I knew loved this film and we bought the toys spawned from it like crack. And now\, again\, with the U.S. deeply entangled in a highly debatable situation on foreign lands that can&rsquo\ ;t be summed up or resolved simply - on the horizon the country braces for yet again\, forty years later&hellip\; &ldquo\;Star Wars.&rdquo\;

\n

- Matthew Brannon

\n

No\, because what is commonly assumed to be pa st history is actually as much a part of the living present as William Faul kner insisted. Furtive\, implacable and tricky\, it inspirits both the obse rver and the scene observed\, artifacts\, manners and atmosphere and it spe aks even when no one wills to listen. And so\, as I listen\, things once ob scure began falling into place. Odd things\, unexpected things&hellip\; Per haps it was also to remind me that war could\, with art\, be transformed in to something deeper and more meaningful than it&rsquo\;s surface violence&h ellip\; Ralph Ellison\, 1981

\n

* Short term solutions are easier and provide immediate stress relief\, unfortunately they have long-term consequences.

DTEND:20151024 DTSTAMP:20150901T060157 DTSTART:20150910 GEO:40.7461073;-73.9919957 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Matthew Brannon's "Skirting the Issue"\, Matthew Brannon UID:394641 END:VEVENT BEGIN:VEVENT DTEND:20150910T200000 DTSTAMP:20150901T060157 DTSTART:20150910T180000 GEO:40.7461073;-73.9919957 LOCATION:Casey Kaplan Gallery\,121 W. 27th St. \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Matthew Brannon's "Skirting the Issue"\, Matthew Brannon UID:394642 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Laurence Miller Gallery is pleased to present DOUBLEMIX\ , an exciting collaboration between Denis Darzacq\, widely recognized for his dynamic pictutres of young adults confronting personal and cultural boundaries\, and Anna Lü\;neman\, recognized for her colorful abstract ions on earthenware and canvas. Now these two artists have teamed up to cre ate DOUBEMIX\, unique works that integrate photography and ceramic s with unpredictable and surreal results.

\n

Their collaboration balan ces the fugitive nature of instantaneous photography with the timeless qual ity of earthenware. A sprinting dog chases not a Frisbee\, but a ceramic bo wl hovering in the air - an ironic drama as the dog might bite off more tha n he can possibly chew. A beautiful and sensuous marble statue of a female nude seen from behind is befriended by two butterfly-like ceramic wings tha t gently caress the polished torso: a dialogue between stone and earth.

\n

In addition to the collaborative works\, this exhibition will also inc lude earlier individual works by each artist - photographs by Darzacq\, and drawings\, paintings\, and stoneware by Lü\;neman.

DTEND:20151031 DTSTAMP:20150901T060157 DTSTART:20150910 GEO:40.763293;-73.975497 LOCATION:Laurence Miller Gallery\,20 West 57th Street 3rd Floor\nNew York\, New York 10019 SEQUENCE:0 SUMMARY:DOUBLEMIX\, Denis Darzacq and Anna Luneman UID:394594 END:VEVENT BEGIN:VEVENT DTEND:20150910T200000 DTSTAMP:20150901T060157 DTSTART:20150910T180000 GEO:40.763293;-73.975497 LOCATION:Laurence Miller Gallery\,20 West 57th Street 3rd Floor\nNew York\, New York 10019 SEQUENCE:0 SUMMARY:DOUBLEMIX\, Denis Darzacq and Anna Luneman UID:394595 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Pete r Daverington

\n
&nb sp\;
\n

&ldquo\;Iconophilia&rdquo\;
September 9\, 2015 &ndash\; October 11\, 2015

\n

Opening Reception: Wednesday\, September 9\, 7 to 9pm

\n

 \;

\n

The Lodge Gallery is proud to present &ldquo\ ;Iconophilia\,&rdquo\; an exhibition of new paintings by Peter Dav erington on view September 9th through October 11th 2015.

\n

The hand of an artist can transport us back in time to discover where we came from\, or it can take us on journeys for ward through dreams to places we never thought possible. In his most recent body of work\, Peter Daverington seizes the big picture and presents us wi th the relics of an evolving world.

\n

Harvested from the iconography of great masters\, \;Icono philia \;is an adventure through the historical cannons of western art. From the invention of oil paint right up into the graffiti tags and t hrow ups of old school New York street artists\, Daverington plunders and a ppropriates from a vast archive of visual imagery. In the mix are the fadin g heroes of the late middle ages\, such as Cimabue and Giotto\, alongside r epeated vignettes from the work of renowned American landscape painter Albe rt Bierstadt. Among the depictions of high and northern renaissance figurat ion and Hudson river landscapes\, Daverington has woven his own iconography of checkerboards and floating geometries seamlessly into the balance. The result is a collection of riotous melodies that oscillate between artifact and artifice.

\n

As a public meditation on his own future\, the future of painting\, and the future of w estern civilization\,Iconophilia \;is also an investigation in to the cycles of degeneration and renewal. The strange decayed and distress ed cacophony of imagery\, abstraction\, and erasure in these paintings refl ects a world in collapse or one that has already collapsed\, perhaps severa l times over\, only to be restored and revitalized so that it may collapse again for future generations. Daverington&rsquo\;s poetic reverence for byg one ages and his faith in the future of painting combine here to offer a gl impse of hope amidst the chaos.

\n

As the artist explains\, &ldquo\;My recent proclivity for subjecting the canvases to brutal forms of abuse and destruction with a power sander a nd graffiti \;is perhaps a subconscious response to the disintegration\ , ruin\, and class warfare occurring within contemporary society. It&rsquo\ ;s worth pointing out that while these works literally depict the iconograp hy of art history as destroyed and defaced\, each painting has at least one area that has been lovingly restored.&rdquo\;

\n

Peter Daverington \;is a painter and musician from Melbourne\, Australia currently living and working in Bea con\, New York. He completed his MFA at the Victorian College of the Arts\, University of Melbourne and has held fourteen solo exhibitions since 2004. Peter has been commissioned to paint public murals in Argentina\, Australi a\, China\, Egypt\, Germany\, Guatemala and Turkey. He is the winner of a J ohn Coburn Emerging Artist Award\, Rupert Bunny Foundation Visual Arts Fell owship\, Australia Council for the Arts New Work Grants and a finalist in t he Archibald and Sulman prizes. His work is held in numerous public and pri vate collections. This is Daverington&rsquo\;s first solo exhibition in Man hattan.

\n


The Lodge Gallery\, founded by Keith Schweitzer and Jason Patrick Voeg ele\, is located at 131 Chrystie Street on Manhattan&rsquo\;s Lower East Si de. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.\n

 \;

DTEND:20151011 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Iconophilia\, Peter DAVERINGTON UID:394472 END:VEVENT BEGIN:VEVENT DTEND:20150909T210000 DTSTAMP:20150901T060157 DTSTART:20150909T190000 GEO:40.719504;-73.99352 LOCATION:The Lodge Gallery\,131 Chrystie Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Iconophilia\, Peter DAVERINGTON UID:394473 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays in pleased to announce the release of \; INUTILE\, a limited edition artist's book by \;Liam \;Ever ett. On September 24\, On Stellar Rays will celebrate with a book reelease party.

The book features drawings by \;Everett that trace an d layer the forms of outdated hand tools\, found by the artist in a studio outside Toulouse\, France. Rust marks mix and stain the brittle sheets of a 60 year-old watercolor block found amongst the tools\, leaving indexical f ragments of now-obsolete utility\, pushed to the point of abstraction. Imag es are presented alongside texts by Bruno Tollon&mdash\;describing the hist ory and purpose of the tools&mdash\;and prose by Rabih Alameddine.

Co-published by On Stellar Rays\, Altman-Siegel Gallery\, San Francisco\ , and RITE Editions\, San Fransisco. 2015.

\n

Artist&rsquo\;s Book. Fu ll color\, clay pigment printed. Hard cover. Stitch bound. Limited edition of 45 and 5 APs. Signed\, dated and and numbered.

DTEND:20150924T203000 DTSTAMP:20150901T060157 DTSTART:20150924T190000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Inutile Book Release Party\, Liam Everett UID:394395 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On Stellar Rays is pleased to announce the opening of Julia Bland&rsquo\;s first solo exhibition with the gallery and in New York\, If You Want To Be Free.

\n

Bland&rsquo\;s large-scale works inco rporate painting and weaving\, exploring the structures and patterns that c ombine disparate elements into a whole. Ropes\, painted canvas\, and fabric s woven by the artist are stitched together\, forming boundaries that furth er bind the work &ndash\; warp to weft\, image to object. The surface is a visible record of Bland&rsquo\;s evolving and multi-faceted process.

\n< p>Bland utilizes abstraction to negotiate the space between geometry\, symb olism\, and representation. Shapes emerge &ndash\; an arrow\, a shelter\, a canyon\, a figure &ndash\; seemingly familiar\, universal\, and archaic.&n bsp\; While the compositions incorporate structures that imply pure or time less forms\, color and materiality evoke an embodied visual experience. Thi s contrast generates a transient exchange between subjectivity of personal memory and consciousness of the infinite or eternal. \;

\n

Julia B land (b. in Palo Alto\, 1986) received her MFA from Yale in 2012\, and her BFA from the Rhode Island School of Design in 2008. In 2008\, she received the Natasha and Jacques Gelman Travel Fellowship to study Islamic art and S ufism in Morocco. \; Recent group exhibitions include On Stellar Rays\, New York\; Vox Populi\, Philadelphia\; Asya Geisberg Gallery\, New York\; Anna Kustera Gallery\, New York. She is currently a resident in the Sharpe- Walentas Studio Program.

DTEND:20151025 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:If You Want To Be Free\, Julia Bland UID:394392 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150901T060157 DTSTART:20150909T180000 GEO:40.7214495;-73.9930937 LOCATION:On Stellar Rays\,1 Rivington Street \nNew York\, NY 10002 SEQUENCE:0 SUMMARY:If You Want To Be Free\, Julia Bland UID:394393 END:VEVENT BEGIN:VEVENT DESCRIPTION:
11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt"\, Ja ckie Saccoccio asks us to consider her pieces as functional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has rea lized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alchemical qualities of liq uid pools\, vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal work s.
\n
 \;
\n
Metaphorically\, Saccoccio&rsquo\;s piec es serve as conceptual containers of overlapping influences that are embedd ed in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 an d Faye from Wong Kar-Wai&rsquo\;s film Chungking Express converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her pai ntings as a Cloaca Maxima: a repository where paint and ideas flow and pool .
\n
 \;
\n
Saccoccio&rsquo\;s comparison with the Cl oaca Maxima resonates as an act of visual and intellectual excavation\, min ing through the artist&rsquo\;s painted layers\, through the last half-cent ury of art making\, and through the questions that animate the paintings in Degree of Tilt.
\n
 \;
\n
Opening receptions: \;
\n
September 9\, 6pm-8pm\, in both locations
\n
 \;< /div>\n
Dates:
\n
September 9 - October 18 (Eleven Rivington)< /div>\n
September 9 - October 23 (Van Doren Waxter)
DTEND:20151018 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree fo TIlt\, Jackie Saccoccio UID:394313 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150901T060157 DTSTART:20150909T180000 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree fo TIlt\, Jackie Saccoccio UID:394314 END:VEVENT BEGIN:VEVENT DESCRIPTION:
11R Eleven Rivington and Van Doren Waxter present 2-venue Jackie Saccoccio solo exhibition "Degree of Tilt". In "Degree of Tilt"\, Ja ckie Saccoccio asks us to consider her pieces as functional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has rea lized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alchemical qualities of liq uid pools\, vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intangible to form centripetal work s.
\n
 \;
\n
Metaphorically\, Saccoccio&rsquo\;s piec es serve as conceptual containers of overlapping influences that are embedd ed in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 an d Faye from Wong Kar-Wai&rsquo\;s film Chungking Express converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her pai ntings as a Cloaca Maxima: a repository where paint and ideas flow and pool .
\n
 \;
\n
Saccoccio&rsquo\;s comparison with the Cl oaca Maxima resonates as an act of visual and intellectual excavation\, min ing through the artist&rsquo\;s painted layers\, through the last half-cent ury of art making\, and through the questions that animate the paintings in Degree of Tilt.
\n
 \;
\n
Opening receptions: \;
\n
September 9\, 6pm-8pm\, in both locations
\n
 \;< /div>\n
Dates:
\n
September 9 - October 18 (Eleven Rivington)< /div>\n
September 9 - October 23 (Van Doren Waxter)
DTEND:20151023 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394311 END:VEVENT BEGIN:VEVENT DTEND:20150909T200000 DTSTAMP:20150901T060157 DTSTART:20150909T180000 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition.

\n

 \;

\n

In \;Degree of Tilt\, Jac kie \;Saccoccio asks us to consider her pieces as functional tools \, and the exhibition as a continuum of the studio. For this show\, Saccocc io has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitio us scale\, up to 152 inches in width. By manipulating the alchemical qualit ies of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the la rge-scale works over one another she fuses physical and intangible to form centripetal works.

\n

Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in th e layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye f rom Wong Kar-Wai&rsquo\;s film \;Chungking Express \;conve rge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage. Refe rring to the ancient Roman drainage system\, Saccoccio conceives the totali ty of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool.

\n

 \;

\n

Saccoccio&rsquo\;s comparison with t he Cloaca Maxima resonates as an act of visual and intellectual excavation\ , mining through the artist&rsquo\;s painted layers\, through the last half -century of art making\, and through the questions that animate the paintin gs in \;Degree of Tilt.

DTEND:20151023 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394300 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition \;Degree of Tilt.

\n

In \;Degree of Tilt\, Jackie \;Saccoccio asks us to consider her pieces as fu nctional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alc hemical qualities of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intan gible to form centripetal works. Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye from Wong Kar-Wai&rsquo\;s film \;Chungking Express \ ;converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage . Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo\;s comparison with the Cloaca Maxima r esonates as an act of visual and intellectual excavation\, mining through t he artist&rsquo\;s painted layers\, through the last half-century of art ma king\, and through the questions that animate the paintings in \;De gree of Tilt.

\n

September 9 &ndash\; October 18 | 11R Eleven Riv ington

\n

195 Chrystie Street\, NY\, NY 10002\, Tel: 212 982 1930

\ n

 \;

\n

September 9 &ndash\; October 23 | Van Doren Waxter

\ n

23 East 73rd \;Street\, NY\, NY 10021\, Tel: 212 445 044 4

DTEND:20151018 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7726783;-73.9652947 LOCATION:Van Doren Waxter Gallery\,23 East 73rd Street \n New York\, NY 10 021 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jackie Saccoccio UID:394297 END:VEVENT BEGIN:VEVENT DESCRIPTION:

11R Eleven Rivington and Van Doren Waxter to present 2-venue solo exhibition \;Degree of Tilt.

\n

In \;Degree of Tilt\, Jackie \;Saccoccio asks us to consider her pieces as fu nctional tools\, and the exhibition as a continuum of the studio. For this show\, Saccoccio has realized her improvisational &lsquo\;portraits&rsquo\; at an ambitious scale\, up to 152 inches in width. By manipulating the alc hemical qualities of liquid pools\, \;vis-a-vis tipping\, dragging and shaking the large-scale works over one another she fuses physical and intan gible to form centripetal works. Metaphorically\, Saccoccio&rsquo\;s pieces serve as conceptual containers of overlapping influences that are embedded in the layers. The ill-fated couples Narcissus and Echo\, and Cop 663 and Faye from Wong Kar-Wai&rsquo\;s film \;Chungking Express \ ;converge with the palettes of Marilyn Minter\, Mondrian and Lisa Yuskavage . Referring to the ancient Roman drainage system\, Saccoccio conceives the totality of her paintings as a Cloaca Maxima: a repository where paint and ideas flow and pool. Saccoccio&rsquo\;s comparison with the Cloaca Maxima r esonates as an act of visual and intellectual excavation\, mining through t he artist&rsquo\;s painted layers\, through the last half-century of art ma king\, and through the questions that animate the paintings in \;De gree of Tilt.

\n

September 9 &ndash\; October 18 | 11R Eleven Riv ington

\n

195 Chrystie Street\, NY\, NY 10002\, Tel: 212 982 1930

\ n

 \;

\n

September 9 &ndash\; October 23 | Van Doren Waxter

\ n

23 East 73rd \;Street\, NY\, NY 10021\, Tel: 212 445 044 4

DTEND:20151018 DTSTAMP:20150901T060157 DTSTART:20150909 GEO:40.7221335;-73.9919451 LOCATION:Eleven Rivington (Chrystie Street)\,195 Chrystie Street \nNew York \, NY 10002 SEQUENCE:0 SUMMARY:Degree of Tilt\, Jacki Saccoccio UID:394296 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151018 DTSTAMP:20150901T060157 DTSTART:20150916 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alejandra Prieto UID:394267 END:VEVENT BEGIN:VEVENT DTEND:20150919T210000 DTSTAMP:20150901T060157 DTSTART:20150919T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, Alejandra Prieto UID:394268 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150913 DTSTAMP:20150901T060157 DTSTART:20150907 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, CHARLES SABBA UID:394265 END:VEVENT BEGIN:VEVENT DTEND:20150909T210000 DTSTAMP:20150901T060157 DTSTART:20150909T180000 GEO:40.7171322;-73.9910262 LOCATION:Y Gallery\,319 Grand St. 5th floor\nNew York\, NY 10002 SEQUENCE:0 SUMMARY:Solo Exhibition\, CHARLES SABBA UID:394266 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Swiss Institute is delighted t o present the 2nd Edition of its Annual Architecture and Design Series entitled PAVILLON DE L&rsquo\;ESPRIT NOUVEAU: A 21st Century Sho w Home. Curated by Felix Burrichter\, the editor and creative director of award-winning architecture and design magazine PIN&ndash\;UP\, \;th e exhibition channels the visionary irreverence of Le Corbusier for a 21st century take on domesticity.

\n

When Swiss-born architect Le Corbusier participated in the 1925 Paris Ex position des Arts Dé\;coratifs\, his contribution &ndash\; the origin al Pavillon de l&rsquo\;Esprit Nouveau &ndash\; caused an uproar a mong the fair&rsquo\;s organizers. In a commercial trade show intended to f acilitate the promotion of the Art Dé\;co style\, his aesthetic was d ismissed as antithetical. In retrospect\, however\, Le Corbusier&rsquo\;s < em>Pavillon de L&rsquo\;Esprit Nouveau acted as a manifesto that intro duced revolutionary design concepts\, such as building standardization\, ma ss-production as it applies to furnishings and interiors\, and the mechaniz ation of the home. These ideas would resonate for decades to come\, largely influencing post-war housing schemes and dé\;cor throughout the rest of the 20th century.

\n

In h omage to the original Pavillon de l&rsquo\;Esprit Nouveau\, Burric hter&rsquo\;s exhibition acts as a conceptual show home for the 21st century. Ninety years after the original debuted in Paris\, this conte mporary PAVILLON DE L&rsquo\;ESPRIT NOUVEAU explores new modes of domesticity\, as well as innovation in furniture design\, where craft co-ex ists with computational expertise. The exhibition features over 30 internat ional designers and artists\, most of whom are participating with specially commissioned works. All featured pieces bear key elements in either fabric ation or material that highlight industrial \;progress \;made in th e last 15 years such as laser-cutting\, \;3D-printing\, advanced LED-te chnology\, non-woven textiles\, and ultra-light carbon-fiber.

\n

In addition to serving as a platform for new desig n\, PAVILLON DE L&rsquo\;ESPRIT NOUVEAU is also an interactive\, a rchitectural experience. Divided into softly delineated zones\, each increa sing in levels of privacy\, the exhibition design by architect and artist S hawn Maximo makes use of digital rendering technology and Chroma key compos iting. The 21st century show home incorporates scenarios of diff erent domestic environments\, exploring the blurred lines in a culture of d igital escapism and surveillance.

\n

In the characteristically confident words of Le Corbusier\, the Pavillon&r squo\;s 2015 iteration at Swiss Institute aims to capture &ldquo\;a tu rning point in the design of modern interiors and a milestone in the evolut ion of architecture.&rdquo\;

\n

The exhi bition will include works by:
Lindsey Adelman\, Nanu Al-Hamad\, Arand a\Lasch\, Alessandro Bava\, Josh Bitelli\, Camille Blin\, Laureline Galliot \, Konstantin Grcic\, Paul Kopkau\, Kram/Weisshaar\, Joris Laarman\, Max La mb\, Le Corbusier\, Piero Lissoni\, Philippe Malouin\, Shawn Maximo\, Jaspe r Morrison\, Jonathan Muecke\, Marlie Mul\, Ifeanyi Oganwu\, Leon Ransmeier \, Sean Raspet\, Jessi Reaves\, Guto Requena\, RO/LU\, Rossi Bianchi\, Juli ka Rudelius\, Soft Baroque\, Robert Stadler\, Ian Stell\, Katie Stout\, Eli sa Strozyk\, Studio Drift\, Patricia Urquiola\, Christian Wassmann\, Bethan Laura Wood.

\n

About the curato r
Felix Burrichter is a German-born\, New York-based writer and creative director. He studied architecture at the Ecole Spé\;cial e d&rsquo\;Architecture (Paris) and Columbia \;University (New York) be fore founding PIN&ndash\;UP magazine in 2006 of which he is editor and crea tive director. PIN&ndash\;UP is a biannual architecture and design magazine (&ldquo\;Magazine for Architectural Entertainment&rdquo\;) that regularly features interviews with renowned architects (SANAA\, Richard Meier\, Shige ru Ban\, Zaha Hadid\, Peter Marino\, Ricardo Bofill\, Odile Decq\, David Ad jaye\, Santiago Calatrava\, Rem Koolhaas) as well as critical essays and co ntemporary architecture and design photography. Heralded as a &ldquo\;cult design zine&rdquo\; by the \;New York Times \;and for &ldq uo\;framing the built environment in decidedly \;sexy terms&rdquo\; (Architectural Digest)\, in 2011 PIN&ndash\;UP was awarded the Gold M edal for Editorial Design by the Art Director&rsquo\;s Club America. In add ition to consulting on art and design books\, Burrichter is a regular contr ibutor to \;T The New York Times Style Magazine\, \;W Magazine\, and \;Fantastic Man.

\n

Swiss Institute thanks the lenders to the exhibition: Aznom\, Monza\; Carpenter&rsquo\;s Workshop Gallery\, London and Paris\; Cassina\, Milan\; Croy Nielsen\, Berlin\; Designtex\, New York\; Dzek Limited\, Londo n\; Emeco\, Hanover\; Established &\; Sons\, London\; Expand Design LTD\ , London\; Febrik\, Tilburg\; Flos\, New York\; Galerie Armel Soyer\, Paris \; Living Divani\, Como\; Nilufar Gallery\, Milan\; Vitra\, Birsfelden\; Vo lume Gallery\, Chicago.

\n

SWISS \;I NSTITUTE \;PROGRAMMING \;IS MADE POSSIBLE IN PART WITH PUBLIC FUNDS FROM PRO HELVETIA\, \;SWISS \;ARTS COUNCIL\, THE NEW YORK STATE CO UNCIL ON THE ARTS\, WITH THE SUPPORT OF GOVERNOR ANDREW CUOMO AND THE NEW Y ORK STATE LEGISLATURE. MAIN SPONSORS INCLUDE LUMA FOUNDATION AND FRIENDS OF SWISS INSTITUTE \;(FOSI)\, LEADING PARTNERS INCLUDE UBS AND VICTORINOX . \;SWISS \;INSTITUTE \;GRATEFULLY ACKNOWLEDGES SWISS AS TRAVEL PARTNER\, \;AND CHELSEA HOTELS AS HOSPITALITY PARTNER.

\n

THE 2015 ARCHITECTURE AND DESIGN EXHIBITION IS SUPPO RTED BY THE GRAHAM FOUNDATION FOR ADVANCED STUDIES IN THE FINE ARTS\, AUSTR IAN CULTURAL COUNCIL NEW YORK\, KARA MANN AND CULTURAL PARTNER FONDATION LE CORBUSIER\, PARIS. IN-KIND SUPPORT PROVIDED BY: AZNOM\; CARPENTER&rsquo\;S WORKSHOP\; CASSINA\; DESIGNTEX\; FLOS\; GCX\; MAHARAM\; McGRORY GLASS\; PA NTONE\; RESOLUME\; ROSCO LABORATORIES\; SOYLENT\; USM\; VITRA\, USA.

DTEND:20151108 DTSTAMP:20150901T060157 DTSTART:20150924 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Swiss Institute Annual Architecture and Design Series: Second Editi on\, Pavillon De L’Esprit Nouveau: A 21st Century Show Home\, Lindsey Adelm an\, Nanu Al-Hamad\, Aranda\Lasch\, Alessandro Bava\, Josh Bitelli\, Camill e Blin\, Laureline Galliot\, Konstantin Grcic\, Paul Kopkau\, Kram/Weisshaa r\, Joris Laarman\, Max Lamb\, Le Corbusier\, Piero Lissoni\, Philippe Malo uin\, Shawn Maximo\, Jasper Morrison\, Jonathan Muecke\, Marlie Mul\, Ifean yi Oganwu\, Leon Ransmeier\, Sean Raspet\, Jessi Reaves\, Guto Requena\, RO /LU\, Rossi Bianchi\, Julika Rudelius\, Soft Baroque\, Robert Stadler\, Ian Stell\, Katie Stout\, Elisa Strozyk\, Studio Drift\, Patricia Urquiola\, C hristian Wassmann\, Bethan Laura Wood UID:394259 END:VEVENT BEGIN:VEVENT DTEND:20150924T180000 DTSTAMP:20150901T060157 DTSTART:20150924T120000 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Swiss Institute Annual Architecture and Design Series: Second Editi on\, Pavillon De L’Esprit Nouveau: A 21st Century Show Home\, Lindsey Adelm an\, Nanu Al-Hamad\, Aranda\Lasch\, Soft Baroque\, Alessandro Bava\, Rossi Bianchi\, Josh Bitelli\, Camille Blin\, Le Corbusier\, Studio Drift\, Laure line Galliot\, Konstantin Grcic\, Paul Kopkau\, Kram/Weisshaar\, Joris Laar man\, Max Lamb\, Piero Lissoni\, Philippe Malouin\, Shawn Maximo\, Jasper M orrison\, Jonathan Muecke\, Marlie Mul\, Ifeanyi Oganwu\, Leon Ransmeier\, Sean Raspet\, Jessi Reaves\, Guto Requena\, RO/LU\, Julika Rudelius\, Rober t Stadler\, Ian Stell\, Katie Stout\, Elisa Strozyk\, Patricia Urquiola\, C hristian Wassmann\, Bethan Laura Wood UID:394260 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Swiss Institute is pleased to present Spring\, the first institutional solo exhibition of New Yo rk-based Croatian artist Dora Budor (b. 1984). Through her work\, Budor con siders the representation of emotional and physical experience within the i deological subtexts of mainstream cinema. She focuses in particular on Holl ywood production methods and special effects\, where ideas transfer between states of materialization\, fictionalization and digitalization. Using cin ematic strategies of affect\, Budor composes sculptures and architectural i nterventions that organically incorporate screen-used cinema props. She cal ls this process &ldquo\;reanimation\,&rdquo\; acknowledging the objects&rsq uo\; fictional histories while re-contextualizing them in a second life.

\n

Conceived as a hybrid of heating infras tructure and blood vessels\, Budor&rsquo\;s sculptures at Swiss Institute w rap around architectural miniatures originally featured in the blockbuster films The Fifth Element\, Batman Returns\, and Johnny Mnemonic. These structures\, covered with artificial weathering\, dus t\, and dirt\, become real-life fossils of on-screen experiences. In acts o f architectural concrescence\, mutation\, and circulation\, the works hover on the edge of living as autonomous objects with death drives.

\n

Of the surrounding blackness\, Budor states: &ld quo\;Spurred by climate change\, bacteria have reappeared on some of the wo rld&rsquo\;s oldest mummies\, rapidly decomposing their ancient skin into b lack slime. Once understood as stable\, rigid and dead\, biological and eco logical forces have suddenly revived these deeply historical bodies in a Fr ankensteinian way &ndash\; a symbolic indication of the current moment.&rdq uo\;

\n

Dora Budor: Spring is t he second exhibition in the ONE FOR ALL series at SI. Building on Swiss Institute&rsquo\;s long history of providing a platform for emerging artists\, each show will be the artist&rsquo\;s first institutional solo ex hibition in the United States with a newly commissioned body of work specif ically created for the exhibition space. Swiss Institute is grateful for su pport from the VIA Art Fund\, Presenting Sponsor of the ONE FOR ALL series.

\n

Dora Budor (b. 1984 in Croa tia) lives and works in New York. Recent exhibitions include Inhuman at Fridericianum\, Kassel\, Germany (2015)\; DIDING &ndash\; An Inte rior That Remains an Exterior? at Kü\;nstlerhaus KM&ndash\;\, Hall e fü\;r Kunst &\; Medien\, Graz\, Austria (2015)\; The Architect &rsquo\;s Plan\, His Contagion and Sensitive Corridors at New Galerie\ , Paris (2015)\; Believe You Me at 247365\, New York (2015)\; and Flat Neighbors at Rachel Uffner\, New York (2014). Budor recently participated in panel discussions at the Judd Foundation and the Whitney Mu seum of American Art\, both in New York. She is a winner of the Rema Hort E merging Art Award (2014) and is co-director of the project space Grand Cent ury in New York.

\n

SWISS INSTITUTE IS G RATEFUL TO VIA ART FUND FOR ITS SUPPORT OF THE ONE FOR ALL SERIES\, TO THE DORA BUDOR EXHIBITION CIRCLE\, AND TO NEW GALERIE IN COLLABORATION WITH NOI RMONTARTPRODUCTION FOR PRODUCTION SUPPORT OF THIS EXHIBITION.
SWISS I NSTITUTE PROGRAMMING IS MADE POSSIBLE IN PART WITH PUBLIC FUNDS FROM PRO HE LVETIA\, SWISS ARTS COUNCIL\, THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFA IRS IN PARTNERSHIP WITH THE CITY COUNCIL AND THE NEW YORK STATE COUNCIL ON THE ARTS\, WITH THE SUPPORT OF GOVERNOR ANDREW CUOMO AND THE NEW YORK STATE LEGISLATURE. MAIN SPONSORS INCLUDE LUMA FOUNDATION\, FRIENDS OF SWISS INST ITUTE (FOSI)\, UBS AND VICTORINOX. SWISS INSTITUTE GRATEFULLY ACKNOWLEDGES SWISS AS TRAVEL PARTNER\, AND CHELSEA HOTELS AS HOSPITALITY PARTNER.

DTEND:20150906 DTSTAMP:20150901T060157 DTSTART:20150624 GEO:40.721431;-74.003129 LOCATION:Swiss Institute\,18 Wooster Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:One For All: Spring\, Dora Budor UID:394258 END:VEVENT BEGIN:VEVENT DESCRIPTION:

On October 1\, 2015\, Neue Gal erie New York will open "Berlin Metropolis: 1918-1933\," an exhibition devo ted to Berlin during the Weimar period. The show explores the city using a multi-media approach\, revealing this complex period through painting\, dra wing\, sculpture\, collage\, photography\, architecture\, film\, and fashio n. The Neue Galerie is the sole venue for this show\, where it will be on v iew through January 4\, 2016.

\n


The exhibition is organized by Dr. Olaf Peters\, Professor of Art History a t the Martin-Luther Universitä\;t Halle-Wittenberg\, distinguished scho lar\, and historian. Dr. Peters recently curated the 2013 show at Neue Gale rie\, "Degenerate Art: The Attack on Modern \;Art in Nazi Germany\, 193 3\," as well as the 2010 exhibition "Otto Dix." Pandiscio Co. is the design er for the "Berlin Metropolis" exhibition and catalogue.

\n

Approximately 300 works will be on display\, organized into five thematic groupings: The Birth of the Republic\; A New Utopia\; Th e "Neue Frau\," or New Woman\; The Crisis of Modernity\; and Into the Abyss . Highlights of the show include a number of major works created in Berlin during this time\, such as Herbert Bayer\, The Lonely Metropolitan (1932)\, Max Beckmann\, Film Studio (1933)\; George Grosz\, M etropolis (1917)\; Raoul Hausmann\, Dada Triumphs (The Ex acting Brain of a Bourgeois Calls Forth a World Movement) (1920)\; Lud wig Meidner\, I and the City (1913)\; Lily Reich\, Collage (1930)\; Rudolf Schlichter\, Blind Power (1937)\, Georg Scholz\, Of Things to Come (1922)\, as well as major works by John Heartfi eld and Hannah Hö\;ch.

\n

This show will cover the city from various perspectives in order to demonstrate the d ramatic changes that occurred at this time. Berlin saw explosive growth and transformation\, as many were attracted to the burgeoning metropolis. Betw een 1871 and 1919\, the population of the city quadrupled\, and Berlin beca me the political center of Germany\, as well as the turbulent crossroads of the modern age. This was reflected in the work of artists\, critics\, dire ctors\, and writers of the time.

\n

As a n imperial capital\, Berlin was the site of violent political revolution an d radical aesthetic innovation. After the German defeat in World War I\, co llage and montage were conceived as appropriate forms to destroy the tradit ional bourgeois concept of art. The Berlin Dadaists were reflecting upon th e horrors of war&mdash\;the trauma of a mechanized conflict&mdash\;and the terrors of revolution and civil war. This new spirit was reflected in the a rtistic\, political\, and social statements of artists during the birth and formation of the fragile Weimar democracy.

\n

Between 1924 and 1929\, Berlin became the most "American" city in Eu rope\, and jazz\, advertisements\, and cinema played a central role in its development. The urban experience was expressed through works of art and th rough mass culture&mdash\;advertisements\, magazines\, photographs\, and po sters all boldly proclaimed the spirit of modernity. The concept of the "Ne ue Frau"&mdash\;the modern\, emancipated woman&mdash\;helped move the city in a new direction. The exhibition at the Neue Galerie includes evidence of all these shifts\, including fashion of the time.

\n

Finally\, Berlin became a hostile stage for political confron tation between the left and the right and was deeply affected by the econom ic crisis and mass unemployment at the end of the 1920s. The experiences of social and economic crisis and despair began to overshadow the "golden yea rs" of Berlin.

\n

The exhibition catalog ue\, published by Prestel Verlag\, provides a complete historical overview of the period. It examines subjects ranging from art and architecture to fi lm\, music\, fashion\, and the "New Woman." Dr. Peters serves as the catalo gue editor\, which features contributions from such scholars as Leonhard He lten\, Sharon Jordan\, Jü\;rgen Mü\;ller\, Janina Nentwig\, Dorothy Price\, and Adelheid Rasche. "Berlin Metropolis: 1918-1933" is made possib le in part by

\n

 \;

\n

 \;

DTEND:20160104 DTSTAMP:20150901T060157 DTSTART:20151001 GEO:40.7813091;-73.9601761 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Berlin Metropolis: 1918-1933\, Herbert Bayer\, Max Beckmann\, Georg e Grosz\, Raoul Hausmann\, Ludwig Meidner\, Lily Reich\, Rudolf Schlichter\ , Georg Scholz\, John Heartfield\, Hannah Hoch UID:394230 END:VEVENT BEGIN:VEVENT DTEND:20151001T180000 DTSTAMP:20150901T060157 DTSTART:20151001T110000 GEO:40.7813091;-73.9601761 LOCATION:Neue Galerie Museum for German and Austrian Art\,1048 Fifth Avenue \nNew York\, NY 10028 SEQUENCE:0 SUMMARY:Berlin Metropolis: 1918-1933\, Herbert Bayer\, Max Beckmann\, Georg e Grosz\, Raoul Hausmann\, John Heartfield\, Hannah Hoch\, Ludwig Meidner\, Lily Reich\, Rudolf Schlichter\, Georg Scholz UID:394231 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20151223 DTSTAMP:20150901T060157 DTSTART:20151022 GEO:40.748312;-74.0056158 LOCATION:Margaret Thatcher Projects\,539 West 23rd Street \nNew York\, NY 1 0011 SEQUENCE:0 SUMMARY:Las Messalinas y Otros Ensayos\, Omar Chacon UID:394226 END:VEVENT BEGIN:VEVENT DTEND:20151022T200000 DTSTAMP:20150901T060157 DTSTART:20151022T180000 GEO:40.748312;-74.0056158 LOCATION:Margaret Thatcher Projects\,539 West 23rd Street \nNew York\, NY 1 0011 SEQUENCE:0 SUMMARY:Las Messalinas y Otros Ensayos\, Omar Chacon UID:394227 END:VEVENT END:VCALENDAR