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

Po ems about wayward dogs\, loose figurations in low light\, a large wall pain ting about a Roman toga. Maybe some ukulele or electric guitar. Doodles\, s ketches\, funny faces\, nocturnes. 

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Josh Thorpe makes installations\, paintin gs\, drawings\, music\, and texts. He teaches writing at University of Toro nto and works at a heritage architecture firm. Recent work includes exhibit ions or special projects at Toronto Sculpture Garden\, Museum of Contempora ry Canadian Art\, Plug In ICA\, Printed Matter\, and David Roberts Art Foun dation\, UK. Articles and interviews have been published by Canadian Art\, Border Crossings\, and the Power Plant\, and in 2009 Art Metropole publishe d Thorpe's book\, Dan Graham Pavilions: A Guide. In 2011\, Thorpe wa s a finalist in the Toronto Friends of the Visual Arts Artist Award and was elected to the Sobey Art Award Ontario Long List. For images and informati on\, please go to www.joshthorpe.com.

DTEND:20130628 DTSTAMP:20140729T131706 DTSTART:20130531 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Josh Thorpe: A dog at sea\, Josh Thorpe UID:277419 END:VEVENT BEGIN:VEVENT DTEND:20130531T200000 DTSTAMP:20140729T131706 DTSTART:20130531T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Josh Thorpe: A dog at sea\, Josh Thorpe UID:277420 END:VEVENT BEGIN:VEVENT DESCRIPTION:

A painter and draftsman by calling and choice\, Gerard Ellis establishes an interesting dichotomy between the practice of painting and social critique. His pictorial work is highly expressive and vigorous for t hose who directly or indirectly participate in the multiple strata of the c ontexts of which this artist speaks. The violence\, corruption and lack of willpower characteristic of our times are central topics of his meticulous pictorial work. There is a studied connection and interdependence between w hat is his work and what constitutes his life experiences\, which translate s into a certain underlying politicization of life’s experience. Self-refer ential and sometimes autobiographical\, his dynamic yet intensely personal and authentic compositions serve on dual levels\; not only are they effecti ve in presenting the viewer with truncated iconoclastic narratives\, but th ey also possess a strong visual vocabulary of technical styles.

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Ellis competes in a direct relation to the animal\, this time \, no longer domestic (an owl\, a cybor-dog\, among others) with the man an d are constant companions to the figures in the paintings. Equipped with a dramatic quality\, the plastic movement of each one of the works speaks of speed and stillness\, paralysis and aggression\, being the diachronic dicho tomy of the mental movement of the spectator.

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Born in Santo Domingo \, Dominican Republic in 1976\, he graduated from the National School of Fi ne Arts and the Universidad Autónoma de Santo Domingo. Selected to be part of the “S-Files”\, the 6th edition of the El Museo del Barrio Bi ennial in NY\, 2011. Has been recognized with three awards of Excellence by The Society of News Design\, 2007-2008. In 2007 was invited to be part of the IX edition of the Cuenca International Biennial\, Ecuador. His work has been exhibited in group shows in the Nassau County Museum of Art\, NY\, Th e IDB Cultural Center and The Mexican Cultural Institute in Washington\, D. C. Selected to be part of the National Biennial of Visual Arts and the XX e dition of the E. León Jimenes Art Contest (Biennial)\, where he received th e Prize for painting\, both in the Dominican Republic. He participated in t he “Sarmiento Public Art Project\, 2007” in public areas of the city of San to Domingo.

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International contemporary art fairs include: VOLTA NY\ , Scope\, Pinta and Arte BA.  His work is in the permanent collection of th e Museum of Latin American Art in Long Beach\, CA\;  Fundación para la Pint ura\, Canaria\, Spain\; the Museum of Contemporary Drawing and the Museum o f Modern Art in Santo Domingo\;  The Dominican Congress and in private coll ections in New York\, London\, Miami\, Spain\, Panamá\, Venezuela\, Puerto Rico and Santo Domingo.

DTEND:20130703 DTSTAMP:20140729T131706 DTSTART:20130530 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Between Villages\, Gerard Ellis UID:278125 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Time Equities Inc. Art-in-Buildings is pleased to announce the newest exhibition in the lobby of the 55 5thAvenue Office Tower\, Jay Shin: Doublerama and Adagiorama. Please join us for an opening celeb ration with the artist on Wednesday\, June 12th from 5-7p m.

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Jay Shinn’s site specific illuminated wa ll painting\, Doublerama\, challenges the viewer’s experience of the lobby s pace by confounding the geometry of the main architectural element\, a curv ed wall. Shinn projects light on to wall painting with theatrical lenses to create the illusion of a three dimensional object floating in space. His e xperiential works are constructed of relatively simple geometric shapes tha t are deployed in intricate patterns to create origami-like structures. Als o on view is Adagiorana\, an 8-minute looping animation that references the wall painting. This is the first time one of Shinn’s animations has been sh one publically. The TV screen is fronted with a frosted Plexiglas box which distorts the video\, blurring the line between video and sculpture. 

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Ja y Shinn lives and works in Dallas and New York. He has a BFA in painting fr om the Kansas City Art Institute. Shinn’s work has been exhibited widely in the US and Europe. Recent exhibitions include Miejska\, Bydgoszcz\, Poland \; University of Colorado Colorado Springs Galleries of Contemporary Art\, Colorado Springs\; Marty Walker Gallery\, Dallas\; Barbara Davis Gallery\, Houston\; Kunstverein Neukolln\, Berlin and Mixed Greens\, New York. Shinn has completed residencies at Omi International Arts Center and Skowhegan Sc hool of Painting and Sculpture. His work is represented by Marty Walker Gal lery\, Dallas and Barbara Davis Gallery\, Houston.

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Jay Shinn: Doublerama an d Adagiorama is curated by Jennie Lame nsdorf and sponsored by the Time Equities Inc. (TEI) Art-in-Buildings. TEI is committed to enriching the experience of our properties through the Art- in-Buildings Program\, an innovative approach that brings contemporary art by emerging and mid-career artists to non-traditional exhibition spaces in the interest of promoting artists\, expanding the audience for art\, and cr eating a more interesting environment for our building occupants\, resident s\, and their guests.

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Founded in 1966\, privately-held Time Equiti es Inc. has been in the real estate investment\, development and asset & \; property management business for more than 40 years. With properties in 26 states\, four Canadian provinces and Germany\, the TEI portfolio consist s of approximately 23.4 million square feet of residential\, industrial\, o ffice and retail property.

DTEND:20130831 DTSTAMP:20140729T131706 DTSTART:20130612 GEO:40.7347941;-73.9944293 LOCATION:55 5th Avenue Lobby Exhibitions\,55 Fifth Avenue \nNew York\, NY 1 0003 SEQUENCE:0 SUMMARY:Doublerama and Adagiorama\, Jay Shinn UID:281807 END:VEVENT BEGIN:VEVENT DTEND:20130612T190000 DTSTAMP:20140729T131706 DTSTART:20130612T170000 GEO:40.7347941;-73.9944293 LOCATION:55 5th Avenue Lobby Exhibitions\,55 Fifth Avenue \nNew York\, NY 1 0003 SEQUENCE:0 SUMMARY:Doublerama and Adagiorama\, Jay Shinn UID:281808 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Aicon Gallery New York is proud to present The Happy Servant \, an exhibition of recent works by Salman Toor. Toor’s paintings are an ec lectic mix of the exhausted categories of old and new\, where inspiration f rom Old Master painting techniques meld seamlessly with imagery from South Asian mass-media and popular culture\, including graphic paintings from loc al Lahore cinema billboards and contemporary advertising from Bollywood and fashion magazines. The exhibition features a group of eleven paintings exp loring the complex and often-uncomfortable relationships between servants a nd masters. Within these works\, Toor transforms signs of poverty and comme rcial products into heroic symbols and absurdly idealized motifs through th e metaphysical qualities of oil paint.

With Toor’s masterfully whimsical way with paint\, these scenes are much more than the literal ama lgamation of their commercial sources. Instead\, they stage their own priva te masquerade\, cloaking the fantasies of contemporary subjects with a vene er of museum-worthy Old Master virtuosity. The works\, however\, are not si mply an exercise in technical skill\, but rather the result of a complicate d personal relationship with Western art history\, by which the artist has re-interpreted his own place in his native social fabric. For Toor\, aspiri ng towards the vivid scenes and technical perfection of the Renaissance and Baroque masters remains both a feasible and contemporary impulse\, capable of yielding unique interpretations of the entrenched tenets of South Asian culture and advertising. In this lens\, Toor’s work is set apart in an age of exhausted irony and innumerable iterations of commercial imagery.

In Girl with Driver\, a salmon-colored Honda Civic becomes as luxur ious as a silk cravat in an Ingres painting. The artist transforms this com mon sight in urban Pakistan – a woman in the backseat with a male driver up front – from its quotidian origins into an allegory of the humdrum of the present and the venerable painting of the past\, simultaneously beautiful a nd grotesque. However\, Toor’s realism is selective\, which can be seen in the fantastical luminosity of the colors and stylized anatomy of the figure s\, while visual clichés - the woman smelling a flower from the car side – provide a running commentary of the absurd social subtexts of such a scene. The composition and typecast figures in this and other works are culled fr om the ubiquitous advertisements for jewelry\, beauty products (‘Fairness C reams’)\, new shopping malls and cell phone providers dominating Pakistan’s urban media landscape.

Both The Rickshaw Driver's Dream and D river and Maid depict fantastic scenes of personal and collective wish-fulf ilment through an impossible combination of visual references and cultural stereotypes\, including the famous group dances of Bollywood musicals and t he painted covers for Mills and Boon romance novels from the 1970s. The Ric kshaw Driver borrows its compostion from Titian's Three Ages of Man (circa 16th century Venice)\, which itself was most likely influenced by Giorgioni ’s themes and motifs of landscapes and nude figures. In Toor’s work\, this familiar scene of idyllic romance is pushed over the edge into Bollywood pa thos by the presence of ever-ready backup dancers\, who have spontaneously broken into their routine in support of the “leading couple.” In this cinem atic trope\, the class differences that typically dominate South Asian soci ety are instantaneously dissolved and cooks\, gardeners\, landlords and dri vers all rejoice in choreographed triumph for a singular imaginary couple. As a result\, it highlights the comedically absurd nature of mass-marketed culture and advertising in modern-day India and Pakistan that often serves to mask a much darker social reality.

Similarly\, poverty osci llates between caricature and reverence in The Happy Servant\, while The Ha ppy Sweeper brushes away in a sentimental Disneyland of daisies and four-le af clovers. In both works\, one senses the inherent isolation of the centra l figure in an otherwise carelessly jubilant gathering or classically-inspi red milieu. Further emphasizing this skewed reality in both works are the s ubjects’ frozen smiles\, which exude a foreboding quality slithering under a skin of frivolity.

In all his works\, Toor deftly presents a subtle melding of the consumeristic and social fantasies perpetuated by t he mass-media of urban India and Pakistan\, along with a Renaissace-era spi rit of light\, technique and idealis. This collaboration presents a unique vision of the complexities and exchanges between South Asian popular cultur e and the art historical traditions of Western idealization. Salman Toor (b . 1983) lives and works between New York and Karachi\, Pakistan. This is hi s first solo exhibition in New York.

DTEND:20130629 DTSTAMP:20140729T131706 DTSTART:20130510 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Happy Servant\, Salman Toor UID:274405 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20140729T131706 DTSTART:20130510T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:The Happy Servant\, Salman Toor UID:274406 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition looks back though the history of post-indepen dence Indian and Pakistani photography\, from its early modernist interpret ations through today\, presenting a vast panoramic view of South Asia's com plex past\, present and future.

DTEND:20130622 DTSTAMP:20140729T131706 DTSTART:20130510 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Up Above the World: Contemporary South Asian Photography\, Atul Bha lla\, Sanjay Bhattacharyya\, Sanjeet Chowdhury\, Anita Dube\, Pooja Iranna\ , Vidya Kamat\, Jatinder Marwaha\, Huma Mulji\, Akbar Padamsee\, Raghu Rai\ , Iqra Tanveer\, Santosh Verma UID:275363 END:VEVENT BEGIN:VEVENT DTEND:20130510T200000 DTSTAMP:20140729T131706 DTSTART:20130510T180000 GEO:40.7268368;-73.9929619 LOCATION:AICON GALLERY - New York\,35 Great Jones Street \nNew York\, NY 10 012 SEQUENCE:0 SUMMARY:Up Above the World: Contemporary South Asian Photography\, Atul Bha lla\, Sanjay Bhattacharyya\, Sanjeet Chowdhury\, Anita Dube\, Pooja Iranna\ , Vidya Kamat\, Jatinder Marwaha\, Huma Mulji\, Akbar Padamsee\, Raghu Rai\ , Iqra Tanveer\, Santosh Verma UID:275364 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Regina Silveira (b.1939) was born in Porto Alegre\, Brazil a nd is currently based in São Paulo. In the 1950s she began her artistic tra ining under the tutelage of expressionist Brazilian painter Iberê Camargo\, studying lithography and woodcut\, as well as painting. Renowned for her p arodic explorations of space through geometric constructs\, Silveiraʼs work is celebrated for both its conceptual rigor and formal impact.

During the 1970s she experimented with printmaking and video\, engaging w ith the dynamic developments of the Brazilian art world at the time. For mo re than thirty years\, Silveira has been investigating the ways in which re ality is represented\, and the ways the meaning of visual imagery is decons tructed and understood. She has used various methods of perspectival projec tion\, including skiagraphia (the study of shadows). Silveira is particular ly interested in the paradoxical relationship between presence and absence\ , a notion that she has investigated by incorporating tracks and foot impri nts into her visual vocabulary. For Silveira\, printmaking has always been a field open to graphic experimentation\, much more expansive and flexible than painting. Her practice\, informed by printing techniques\, has taken t he form of videos\, sculptures\, and spacial interventions of architectural proportions.

Silveira’s artwork was the subject of a retrospective at the Centro Cultural Banco do Brasil\; in 2009\, the Koge Museum of Art in Publ ic Spaces\, Denmark\, presented a retrospective of Silveira’s public projec ts. The artist has exhibited throughout Europe and the Americas\, including solo exhibitions at the Museo de Antioquia\, Medelin\, Colombia (2008)\; C entro Cultural do Banco Brasil\, Brasilia (2007)\; Pacific Northwest Colleg e of Art\, Portland\, OR (2007)\; Museo de Arte del Banco de la Republica\, Bogota\, Colombia (2007)\; Museu de Arte da Pampulha\, Belo Horizonte\, Br azil (2007)\; Museo Nacional Centro de Arte Reina Sofia\, Madrid\, Spain (2 005)\; Art Museum of the Americas\, Washington\, DC (2000)\; Museo de Arte Moderno de Buenos Aires\, Argentina (1998)\; Museum of Contemporary Art\, S an Diego\, CA (1996)\; Bass Museum\, Miami\, FL (1992)\; Queens Museum of A rt\, New York (1992). Her work is represented in public and private collect ions internationally.

DTEND:20130726 DTSTAMP:20140729T131706 DTSTART:20130605 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Solo Exhibition\, Regina Silveira UID:279229 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition will include a pproximately 63 drawings and paintings by self-taught Alabama artist Bill T raylor. Traylor began making art near the end of his life\, and his works a re notable for their flat\, simply defined shapes and vibrant compositions in which memories and observations relating to African American life are me rged. Traylor is recognized as one of the finest American artists of the 20 th century.

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&ldquo\;Bill Traylor: Dra wings from the Collections of the High Museum of Art and the Montgomery Mus eum of Fine Arts&rdquo\; is co-organized by the High Museum of Art\, Atlant a\, and the Montgomery Museum of Fine Arts\, Montgomery. The exhibition is supported in part by an award from the National Endowment for the Arts.

The presentation at the American Folk Art Museum is sponsored in part by Joyce Berger Cowin\, public funds from the New York City Department of Cultural Affairs in partnership with the City Council\, the Ford Founda tion\, the Robert Lehman Foundation\, the David Davies and Jack Weeden Fund for Exhibitions\, and Laura and Richard Parsons. Lectures and symposia are supported in part by an award from the National Endowment for the Arts.

DTEND:20130922 DTSTAMP:20140729T131706 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Drawings from the Collections of the High Museum of Art and the Mo ntgomery Museum of Fine Arts \, Bill Traylor UID:274151 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140729T131706 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY: Drawings from the Collections of the High Museum of Art and the Mo ntgomery Museum of Fine Arts \, Bill Traylor UID:274152 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bill Traylor (c. 1854–1949) forged a personal iconography of recurring characters and subjects. They exhibit the artist’s photographic memory by recalling images\, sounds\, or movements with clear precision. In their protean nature\, these subconscious fragments return in multiple dra wings\, forming interrelated sequences in a single feature that offer signi ficant parallels with cinematic production and its images in motion. Late i n his life\, the street scene in Montgomery itself contributed a kind of ci nema verité\, adding a fertile complexity to themes that beg to be thought of together\, stakeholders in a continuous\, coherent scene. In this regard no detail is superficial but is always connected to an ongoing dynamic cyc le.

“Traylor in Motion: Wonders from New York Collections” del ves into this aspect of Traylor’s vision by considering specific groups of figures and gestures and their implications: the development of action thro ugh staged poses—subjects mostly looking right\, with expressive pointed fi ngers\; the tension created by offset spatial compositions\; the introducti on of vibrant colors\; startling metamorphoses\; and the sinuous movement o f bodies from contortion to the astonishing balletic extension of a limb. H igh-kicking legs evoke the exuberance of such dances of the era as the gymn astic Lindy Hop. But such posturing may also be a sly reference to the sati rical strut of the “cakewalk\,” a subversive plantation dance that mocked t he formal grand marches and minuets of the slaveholders through exaggerated movements. Often the women wore long dresses with hoop skirts and the men sported high hats\, split-tail coats\, and walking sticks.

The se moving images become lines of force: jumps and ellipses between cause an d effect\, stirring up the surfaces. Yet the ritualistic cinema created by Traylor is not a strict narrative\, social commentary\, or reaction to hist orical fact. Mysterious and intimate\, it carries a reinvented perception o f reality laden with fantasies\, myths\, and symbols.

DTEND:20130922 DTSTAMP:20140729T131706 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Traylor in Motion: Wonders from New York Collections\, Bill Traylor UID:281247 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140729T131706 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Traylor in Motion: Wonders from New York Collections\, Bill Traylor UID:281248 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition is sponsored in part by Joyce Berger Cowin\, public funds from the New York City Department of Cultural Affairs in partn ership with the City Council\, the Ford Foundation\, the Robert Lehman Foun dation\, the David Davies and Jack Weeden Fund for Exhibitions\, and Laura and Richard Parsons. Lectures and symposia are supported in part by an awar d from the National Endowment for the Arts.

DTEND:20130922 DTSTAMP:20140729T131706 DTSTART:20130611 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Recent Gifts UID:281249 END:VEVENT BEGIN:VEVENT DTEND:20130611T173000 DTSTAMP:20140729T131706 DTSTART:20130611T103000 GEO:40.7732646;-73.9816233 LOCATION:American Folk Art Museum - Lincoln Square\,2 Lincoln Square \nNew York\, NY SEQUENCE:0 SUMMARY:Recent Gifts UID:281250 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Xul Solar and Jorge Luis Borges: The Art of Friendship < /em>is an exhibition that explores friendship as a cosmopolitan agency\, wh ich informed Argentine art and culture through the intellectual exchange be tween the mystic artist Xul Solar (1887-1963) and the writer Jorge Luis Bor ges (1899-1985.) The Art of Friendship focuses on the fraternal di alogue and collaborations between Solar and Borges\, the most singular cult ural figures in Buenos Aires in the twentieth century who contributed to th e philosophical and aesthetic renewal in Argentina in the 1920s by cultivat ing a form of “fluid nationalism.” The exhibition is curated by Gabriela Ra ngel\, Director of Visual Arts and Chief Curator at Americas Society with t he collaboration of poet Lila Zemborain and the assistance of Christina De León and Anya Pantuyeva. It will be on view from April 18 through July 20\, 2013 travelling in the fall to the Phoenix Art Museum. For Gabriela Rangel \, “Xul Solar and Jorge Luis Borges were central to the process of inventio n of a local universal identity\, which seems paradoxical\, but is rather e xtraordinary and unique.”

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The exhibition covers over forty years of friendship between Solar and Borges\, who met after their return from Euro pe in 1924\, in the literary and artistic circles of the journal-magazine < em>Martin Fierro and collaborated on different projects until Solar’s death in 1963. In the search of a new Argentine avant-garde identity\, Borg es and Solar\, along with other martinfierristas developed a Neo-C reole identity that fused the tactics of the European modernists with natio nalist ideas and the gaucho vernacular culture. Nonetheless\, each developed distinct voices within this group: Borges reinventing the slums and unpaved streets of Buenos Aires’ suburbs\, and Xul creating new languag es Neo-Creole and Pan-Language as well as fantastic landscapes filled with monstrous figures in which he blended mystic and occult references with Pan -American symbolism. As Sylvia Molloy has suggested\, Borges and Solar seek difference rather than assimilation acting as born-exiles in an environmen t of fervent avant-garde debates and nationalisms. Both constituted a visua l metaphor that built the core for this new conception of the local cosmopo litan self. During their countless walks around the city\, chess games\, an d while listening to music the two discussed the poetry and art of William Blake\, the mysticism of Emanuel Swedenborg\, theology of angels\, German I dealism\, and non-Western religions and languages. Borges and Solar forged a lifetime friendship while discovering and contributing to the identity of Buenos Aires in the process of the invention of their own.

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The Art of Friendship departs from a speculative lineage on friendship co nstrued by thinkers such as Aristotle\, Cicero\, Michel de Montaigne\, Frie drich Nietzsche\, Ralph Waldo Emerson\, Richard Rorty\, Hans-Georg Gadamer\ , and Jacques Derrida who have examined fraternal exchange as an instance o f civic agency. Friendship is also considered as a space of social and poli tical interaction\, which enables the tracing of genealogical maps that ide ntify vast networks of solidarity and communities.

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The show gathers an important number of paintings\, first editions\, and manuscripts—some o f which have never left Argentina—as a means to explore the intellectual na ture of the relationship between Solar and Borges and the definition of fri endship at large as a private agency with public effects.   Xul Solar a nd Jorge Luis Borges: The Art of Friendship is organized by Americas S ociety with the collaboration of Museo Xul Solar in Buenos Aires. It is acc ompanied by a fully illustrated catalogue with contributions by Patricia Ar tundo\, Sergio Baur\, Maria Kodama\, Gabriela Rangel and Sylvia Molloy\, in addition to a plaquette with original poems by Monica de La Torre\, Cecili a Vicuña\, and Lila Zemborain inspired by Solar’s astral voyages or San Signos.

DTEND:20130720 DTSTAMP:20140729T131706 DTSTART:20130418 GEO:40.6955248;-73.9871396 LOCATION:Americas Society Gallery\,680 Park Avenue (@ 68th St) \nNew York\, NY 10065 SEQUENCE:0 SUMMARY: The Art of Friendship\, Xul Solar\, Jorge Luis Borges UID:285124 END:VEVENT BEGIN:VEVENT DESCRIPTION:

AMERINGER | McENERY | YOHE is pleased to announce an exhibit ion of recent paintings by Wolf Kahn. The exhibition will open 6 June 2013. A reception for the artist will take place 6 June\, between 6:00 and 8:00 PM. The public is welcome.

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The exhibition will be accompanied by a fully illustrated catalogue with an essay by Nicholas Delbanco.

DTEND:20130726 DTSTAMP:20140729T131706 DTSTART:20130606 GEO:40.747609;-74.0057766 LOCATION:Ameringer | McEnery | Yohe\,525 West 22nd Street \nNew York\, New York 10011 SEQUENCE:0 SUMMARY:Recent Paintings\, Wolf Kahn UID:287336 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For Mika Rottenberg's current exhibition at Magasin 3\, she produced an impressive and arresting group of sculptures — cast resin and h and-painted textures that seem to have been ripped from the walls of one of her film sets. These sculptures reference an iconic tactility that is key to all of her films and installations. Since Gallery 2's program is committ ed to encouraging alternative modes for understanding new and historical ma terial through filters that may alter our perception\, Andrea Rosen Gallery is delighted to announce a complex new group exhibition that juxtaposes Ro ttenberg's sculptures with the evocative surfaces of works by Lynda Benglis \, Sean Bluechel\, Jean Dubuffet\, and mid-century ceramicist Axel Salto. < br />
An important painting from Dubuffet's Texturologie series avoi ds all figuration\, but is not abstract. Literally a vast view of the groun d seen from above\, the gestural and gritty painting was intended to evoke a continuous\, infinite space beyond the fragmented sphere of human action and intervention. Sean Bluechel prefers this dysfunctional arena\, and his "Drunk Photos" engage multiple iconographies of sexuality\, race and gender with a rough\, physical sensibility. Axel Salto experimented with wild\, o rganic forms and colors that were a radical departure from the prevailing\, cool abstract styles of modern ceramics. Although his vessels are undoubte dly decorative\, Salto was a trained painter fixated on formal problems – h ow does the thickness and sheen of a glaze change as it slides over bumps a nd into grooves? The dense\, multi-colored accretions on Lynda Benglis's wa x paintings are sensuous and visceral\, but they are also ground-breaking\, transitional pieces that demonstrate the artist's struggle to redefine pai nting and the relationship between the artwork and viewer in space.

All of these works give form to our sensory perceptions. As Lynda Be nglis said\, "I am involved with bodily response so that the viewer has the feeling of being one with the material and that action\, both visually and muscularly…in other words\, you draw out the complete body through the wor k."

DTEND:20130622 DTSTAMP:20140729T131706 DTSTART:20130504 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, Lynda Benglis\, Sean Bluechel\, Jean Dubuffet\, Mika R ottenberg\, Axel Salto UID:273062 END:VEVENT BEGIN:VEVENT DTEND:20130503T200000 DTSTAMP:20140729T131706 DTSTART:20130503T180000 GEO:40.749177;-74.0058861 LOCATION:Andrea Rosen Gallery 2\,544 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Exhibition\, Lynda Benglis\, Sean Bluechel\, Jean Dubuffet\, Mika R ottenberg\, Axel Salto UID:273063 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps gallery is pleased to present The Book of Hours\, Christian Holstad’s first solo exhibition with the gallery\ , which will feature sculpture\, installation and drawings in an immersive installation. Enhanced by sound works by Martin Maugeais the show takes as its point of departure the religious devotionals of the same name. 

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Books of Hours are often characterized as the “bestseller” of the Middle A ges. The most famous of these religious books were richly decorated with gi lding and inks made with pigments of ground precious stones. These books we re commissioned by the upper class and were meant to occupy ones time absor bing the reader in the rich and layered visual illustrations of the texts o f Christianity. They were named for the time spent pouring through them per haps in the same way a reader might pour over a morning newspaper. Both doc uments act as a snapshot of the time in which they were created but differ in their purpose. The Book of Hours promotes the rejection and/or suppressi on of natural desires as a path of religious enlightenment. In contrast\, i t could be seen that a contemporary newspaper is filled with stories that a re the result of this same rejection of nature that have ultimately lead to spiritual erasure and ecological degradation.

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Mirroring street sce nes around him through inexplicably crafted soft sculptures Christian depic ts this disconnect from nature in a contemporary capitalist society. Discar ded diapers both infant and adult lay discarded in a corner with an abandon ed stroller - a tree stump emerging from a cobblestoned patch of dirt is ho vered over by it’s own amputated trunk grown through an electrical wire and hordes of bees crashing out of the sky in a death fall present the pervers ity of our contemporary reality with harrowing beauty.

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It is this b eauty – and the process of the creation of the hand-made environments and t heir respective monsters that give some accidental hope to these scenes wit h piles of feces topped with shrimp lovingly sewn of millinery thread and s equins. Sounds of harpsichord and organ emanate from within - the chords of which are derived from the accidental aural events that Martin Maugeais re corded in his daily early morning attempts at a perfect tone giving the sce ne a Baroque-like backdrop and bringing together the layers of the contempo rary Book of Hours.

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Christian Holstad has had solo shows at Kunstha lle Zurich\, Museum of Contemporary Art Miami\, PS1\, New York\, and has be en included in group shows at San Francisco Museum of Modern Art\, Indianap olis Museum of Art\, Indianapolis\, The Power Plant\, Toronto\, Kunsthalle Düsseldorf\, MoMA\, New York\, The Whitney Museum of American Art and the N ew Museum\, New York.

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Martin Maugeais lives and works in Paris and New York. He studied computer programming\, musical composition and visual music at the University of Paris 8 (Saint-Denis) and completed a Masters de gree in in 2012. His practice includes music composition (both instrumental and digital)\, sound installations\, and performing with bands Femme Fract ale and The General Society.

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DTEND:20130622 DTSTAMP:20140729T131706 DTSTART:20130511 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:The Book of Hours\, Christian Holstad UID:275618 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Andrew Kreps Gallery is pleased to present Hito Steyerl’s fi rst exhibition with the gallery\, which will feature the singular film work In Free Fall\, 2010.  Incorporating a trio of works - After t he Crash\, Before the Crash and CrashIn Free Fall employs the setting and characters of an airplane junkyard in the Californian desert to tell the story of the current economic climate.

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The space of the junkyard allows various ‘crash’ narratives to unfold\, with the stories of actual crashes and the remnants and afterlife of these machines becoming metaphors for economic decline.  The works are an invest igation of planes as they are parked during the economic downturn\, stored and recycled\, revealing unexpected connections between economy\, violence and spectacle\, finding perfect example in the form of the Boeing 4X-JYI\, an aircraft first acquired by film director Howard Hughes for TWA\, which w as subsequently flown by the Israeli air force before finding its way to th e Californian desert to be blown up for the Hollywood blockbuster Speed . Through intertwined narratives of people\, planes and places Steyerl reveals cycles of capitalism incorporating and adapting to the changing st atus of the commodity\, but also points at a horizon beyond this endless re petition.

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Hito Steyerl is among the keenest observers of our thorou ghly globalized\, digitized condition. Her practice describes with uncommon precision the fluidity and mutability of images—how they are produced\, in terpreted\, translated\, packaged\, transported\, and consumed by a multitu de of users. Most often\, Steyerl’s art takes the form of video essays that comprise exhaustive research\, montage\, composite imagery\, first-person voiceovers\, and interviews. While her subjects vary widely\, her work is c onsistently based on the premise that we are always implicated\, consciousl y and unconsciously\, in the stories that we tell. Hers is a documentary fo rm that is emphatically transparent about its subjectivity and its uncertai nty.

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Hito Steyerl\, In Free Fall\, 2010\, installation vie w at Chisenhale Gallery. Co-commissioned by Picture This\, Bristol\, Collec tive\, Edinburgh and Chisenhale Gallery\, London. Supported by Arts Council England and Creative Scotland. 

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Hito Steyerl (b. 1966) is based in Berlin. She has had solo exhibitions at the Art Institute of Chicago\, E-f lux in New York\,  Picture This\, Bristol\; Collective\, Edinburgh\; Chisen hale Gallery\, London\, Villa Stuck\, Munich\; (all 2010)\; Neuer Berliner Kunstverein (2009)\; and Moderna Museet\, Stockholm (2008). Group exhibitio ns include the upcoming Venice Bienale\, Taipei Biennial\; 1st Ural Biennia l\; Gwangju Biennial\; Antiphotojournalism\, La Virreina\, Barcelona\; Hori zons\, BAK\, Utrecht (all 2010)\; Dispersion\, ICA\, London\; U-Tu rn Kvadriennale for Samtidskunst\, Copenhagen (both 2008)\; documenta 12\, Kassel (2007) and Manifesta 5\, San Sebastian (2004).

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DTEND:20130622 DTSTAMP:20140729T131706 DTSTART:20130511 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY: In Free Fall \, Hito Steyerl UID:282592 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130622 DTSTAMP:20140729T131706 DTSTART:20130523 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Shio Kusaka UID:270021 END:VEVENT BEGIN:VEVENT DTEND:20130523T200000 DTSTAMP:20140729T131706 DTSTART:20130523T180000 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Solo Exhibition\, Shio Kusaka UID:270022 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Unsolicited Proposal Program winning exhibition.

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Submitted Proposal:

Artist Jacqueline Hoang Nguyen tells the sto ry of an unexplained laughter epidemic that began in the town of Kashasha i n Tanganyika in central Africa in January 1962\, spanning six months\, and contaminating and incapacitating hundreds. The epidemic began with in a cla ssroom\, possibly the result of a joke\, and quickly spiraled out of contro l – a true social contagion. Its darker underbelly\, however\, lies in the reality that 1962 marked Tanganyika's independence and citizens were facing increased pressure. It was\, in fact\, an outbreak of mass hysteria – a Ma ss Psychogenic Illness.

In his 1953 lecture "Un-knowing: Laugh ter and Tears\," Georges Bataille points to laughter as beyond the extreme limit of knowledge\, the confusion\, intoxication and uncertainty of laught er\, and its close relation to trauma:

"There is something int oxicating in tears\, as in laughter. One would\, I think\, have no difficul ty in showing that tears can be considered as related to laughter\, to the invasion of the unknown\, to the elimination of a part of this world which we consider as the world known in all the parts generally seen as a whole." 1

Because it is unknowable and ambiguous\, there is power in l aughter. The motivation for this exhibition is to pursue research into laug hter as a destabilizing force\, emancipated from the joke and entering the realm of power relationships\, reactions to political landscapes and human emotion. 2012 is the fiftieth anniversary of the 1962 epidemic\, which bega n from the giggling of three schoolgirls but which had much deeper roots. T his epidemic\, which highlights the cyclical and paradoxical nature of laug hter\, was at its core an involuntary response to a radically changed reali ty\, not unlike the one we are currently experiencing. Unexpected modes of expression come spilling in out in times of distress or exhaustion.
< br /> Nguyen's installation For An Epidemic Resistance (2009) anchors the e xhibition. The artist takes the 1962 event as a conceptual point of departu re. Organized as a grid of hanging speakers\, the installation provides a s patial approximation of the classroom in which the epidemic broke out: laug hter spreads between speakers as one walks through the installation. Sam Ta ylor-Wood's eight-minute video Hysteria (1997) provides a close reading of emotional confusion. The video frames a woman's face\, and we cannot discer n whether she is laughing or crying. Shahryar Nashat's Modern Body Comedy ( 2006) is an ambiguous power game. In this seductive and unsettling film\, t wo men enact an enigmatic narrative upon on stage set. There is a frighteni ng\, exhilarating discord between communication and intent on the part of t he actors\, such that one loses a sense of reality as the story escalates. The film culminates in a troubling denouement. Althea Thauberger's Anatomie Artistique (2011) speaks to past and present readings of women's bodies. H er photograph transposes a woman in a pose associated with hysteria in nine teenth-century medicine\, with a similarly posed yogi. It is a beautiful\, sad and clever formal exploration of the interpretation and confusion of fo rm.

1. Georges Bataille\, "Un-knowing: Laughter and Tears\," r eprinted in October 36\, Spring 1986\, 98.

DTEND:20130727 DTSTAMP:20140729T131706 DTSTART:20130523 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: laughter \, Christian Boltanski\, Jacqueline Hoang Nguyen\, Yoshua Okón\, Stuart Ringholt\, Althea Thauberger UID:274407 END:VEVENT BEGIN:VEVENT DTEND:20130522T200000 DTSTAMP:20140729T131706 DTSTART:20130522T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY: laughter \, Christian Boltanski\, Jacqueline Hoang Nguyen\, Yoshua Okón\, Stuart Ringholt\, Althea Thauberger UID:274408 END:VEVENT END:VCALENDAR