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

303 Gallery is pleased to pres ent our second solo exhibition with Mike Nelson.

\n

On this occasion\, Nelson will present Gang of Seven\, a collection of sculptural assemblages made of materials collected from th e North West Pacific Coast. The work revisits and expands upon themes and f orms Nelson introduced in he Amnesiacsin 1997\, in which a group o f imaginary outsiders gather and wantonly sift through natural and cultural detritus\, rearranging it and approaching dark phenomenological truths alo ng the way. In Gang of Seven\, Nelson's mythical beachcomber imagi nes the ocean as an intelligent entity of seemingly infinite sprawl\, uncov ering alien clues in the flotsam and jetsam\, akin to the cosmonauts' relat ionship to the hallucination-inducing ocean in Stanislaw Lem's epic Sol aris. These evidences of apocryphal events exist in a disjointed space between remnant and invention\, and when brought together\, effect the pos sibility for new systems of understanding.

\n

In Being-No-One\, the German post-transcendentalist philosop her Thomas Metzinger refers to a 'virtual window of presence' through which we experience time and imagine ourselves as autonomous beings. Nelson's as semblages point to what we might see if we were able to look not through th is window\, but behind it\; an envisioning of material and psychic forces t hat are determinate structures in human interpretation of our own cultivate d landscapes. To this end\, a bracingly human element of Gang of Seven< /em> is the influence of personal history\; that of Nelson's relationship t o longtime friend and collaborator Erlend Williamson\, who fell to his deat h in 1996 while climbing in the Scottish Highlands\, just as Nelson was dev eloping the ideas that would become The Amnesiacs. This is also mi rrored in the title's reference to the 'Group of Seven'\, the loose collect ive of landscape painters whose formation came after the death of Tom Thoms on in a canoeing accident in Ontario\, 1917. By introducing these elements into a space in which they exchange charges with other societies\, real and imagined\, absent and present\, Nelson as author is simultaneously in fron t of and behind the window - negotiating the blindness of consciousness to envision its constitution.

\n

Lorna said to me\, 'You know Riddley theres some thing in us it dont have no name .'?I said\, 'What thing is that?' She said\, 'Its some kind of thing aint u s but yet its in us. its lookin out through our eye hoals... It aint you no r it don't even know your name. Its in us lorn and loan and sheltering how it can... Tremmering it is and feart. It puts us on like we put on our cloe s. Some times we dont fit. Some times it cant find the arm hoals and it tea rs us a part.'

\n

-Russell Hoban\, Riddley Walker\, Jonathan Cape\, 1980

\n

Gang of Seven was originally co-commissioned by The Cont emporary Art Gallery\, Vancouver and The Power Plant\, Toronto\, where Nels on produced solo exhibitions in 2013 and 2014. A catalogue is forthcoming f rom Black Dog Publishing. Other recent solo exhibitions include M6\, Eastside Projects\, Birmingham (2013)\; 408 tons of imperfect geomet ry\, Malmö\; Konsthall (2012)\; \;I\, IMPOSTOR\, Brit ish Pavilion\, 54th Biennale di Venezia (2011)\; \;A Psychic Vacuum \, Creative Time\, New York (2007)\; \;AMNESIAC SHRINE \;o r Double coop displacement\, Matt's Gallery\, London (2006)\; \;Triple Bluff Canyon\, Modern Art Oxford (2004)\; Nothing is True . Everything is Permitted\, ICA\, London (2001). His work has been inc luded in a number of group exhibitions including September 11\, Mo MA PS1\, New York (2011)\; Singapore Biennale (2011)\; \;Altermoder n\, Tate Britain\, London (2009)\; \;Psycho Buildings\, H ayward Gallery\, London (2008)\; \;Eclipse: Art in a Dark Age\, Moderna Museet\, Stockholm (2008)\; \;Reality Check\, Statens Museum for Kunst\, Copenhagen (2008)\; and Turner Prize\, Tate Liverpool (2007). M ike Nelson lives and works in London.

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150117 GEO:40.7485947;-74.0041953 LOCATION:303 Gallery\,507 West 24th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Gang of Seven\, Mike Nelson UID:367278 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Artist Dan Graham's photography collection which he traded w ith his artist friends.

DTEND:20150214 DTSTAMP:20150127T103202 DTSTART:20141119 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364919 END:VEVENT BEGIN:VEVENT DTEND:20141119T200000 DTSTAMP:20150127T103202 DTSTART:20141119T180000 GEO:40.716943;-73.997372 LOCATION:3A Gallery\,179 Canal Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Dan Graham Collection\, Nobuyoshi Araki\, Barbara Ess\, Darcy Lange \, Wolfgang Tillmans\, Jeff Wall UID:364920 END:VEVENT BEGIN:VEVENT DESCRIPTION:

532 Gallery Thomas Jaeckel pre sents an exhibition of work by Ira Richer.
Including recent paintings and earlier works in Formica that were shown at Nosei Gallery.

\n

When describing the work Anthony Haden-Guest wri tes:

\n

These pieces combine deft ma teriality and wit. As with the hammer\, the magnet\, the exclamation point\ , the scribbled title in &ldquo\;Gulf&rdquo\;. So too the paintings. Richer &rsquo\;s palette inclines to early summer and isn&rsquo\;t scared of black . Note the shadow in &ldquo\;The Yellow Cave&rdquo\;. \; His line can b e at once elegant and muscular as in the &ldquo\;Massage&rdquo\;Painting in a way reminiscent of early Hockney &ndash\; and there&rsquo\;s nothing wha tsoever wrong with that &ndash\; but where Hockneys are purposefully allusi ve\, something anecdotal\, these are simply what they are. A fully-formed f igure is often a presence\, as dominant as in Munch or Dubuffet\, but as wi th these artists\, they are not borrowed from elsewhere. The picture-plane is the petri dish in which they exist. Nothing decorative\, every form has meaning\, but it is often enigmatic.

\n

An engaging shape that is central to two canvases looks somewhat l ike a tuber or &ndash\; it is pinkish &ndash\; might it be a human organ? I t doesn&rsquo\;t matter. Richer&rsquo\;s form happens to be based on a fema le figure\, bending. Behind her\, on one canvas is the table at which Cezan ne&rsquo\;s card players are seated and the other seems to sport black shoe s and gloves. Hamlet\, toying with Polonius\, says: Do you see yonder cloud that&rsquo\;s almost in shape of a camel? Decoding forms is a natural func tion of the brain.

\n

So the pa intings in the show look kind of radical in a period of when so much that f loats its seemingly critic-proof way through the market looks strategic rat her than felt. &ldquo\;When I think of Munch&rsquo\;s \;Scream. I think how lucky he was to have a pier to scream on above Oslo\, by himself all a lone.&rdquo\; Ira Richer says\, &ldquo\;Man has become a species whose land is reduced to a table top. His existence is engineered and contorted by ot hers. And the last indignity- is- we have to hold our smile&rdquo\;. I see fugitive signs that the times may be a-changing though.

\n

These paintings are such signs of life.

\n

Ira Richer studied at Cooper Union (BFA ) and at Yale University (MFA). Ira is a Professor of Drawing and Advanced Painting at the School of Visual Arts\, New York. His work is in the collec tion of the Vincent van Gogh Foundation Arles\, France\; the Bob Blackburn Collection/Smithsonian Institute\; the J.Patrick Lannon Foundation\; the Fr ancisco Pellizzi collection\; the collection of Lucien\, Yolande and Ann Cl ergue among others.

\n
The writer Anth ony Haden-Guest has contributed to the Financial Times weekend column on ar t collecting\, Vanity Fair\, The New Yorker\, Paris Review\, The New York O bserver\, Art Forum\, Esquire UK .
DTEND:20150214 DTSTAMP:20150127T103202 DTSTART:20150117 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Life Signs\, Ira Richer UID:370327 END:VEVENT BEGIN:VEVENT DTEND:20150117T200000 DTSTAMP:20150127T103202 DTSTART:20150117T180000 GEO:40.749403;-74.004838 LOCATION:532 Gallery Thomas Jaeckel\,532 W. 25th Street \nNew York\, NY 100 01 SEQUENCE:0 SUMMARY:Life Signs\, Ira Richer UID:370328 END:VEVENT BEGIN:VEVENT DESCRIPTION:

PETER BLUME (1906-1992)

\n

November 6\, 2014 through January 31\, 2015

\n

 \;

\n

ACA Galleries is pleased to announce the upco ming exhibition\, PETER BLUME (1906-1992)\,on view November 6\, 201 4 through January 31\, 2015. \; The exhibition will feature pa intings\, drawings and sculpture from the artist&rsquo\;s estate.  \;\n

Concurrent with the ACA Galleries exhibition is the firstPeter Blume retrospective since 1976\, Nature and Metamorphosis\, organized by the Pennsylvania Academy of the Fine Arts (PAFA) \, Philadelphia (November 14\, 2014 &ndash\; April 5\, 201 5). \; This exhibition will travel to the Wadsworth At henaeum\, Hartford\, CT (June 27 &ndash\; September 20\, 2 015). \; Catalogue will be available.  \; \;

\n

P eter Blume&rsquo\;s modernism embodies the clashing contradictions of the 2 0th Century: abstract complexities with nostalgia for a simpler past\; the rush of urban living with the yearning for a lost pastoral life\; the cold reality of politics with the quest for spiritual meaning in a world ravaged by two world wars and a ruinous economic depression.  \;By embracing t he irreconcilable\, Blume transcends Modernist art&rsquo\;s conventional as pirations to re-define order in a chaotic world.  \;His oeuvre is metam orphosis itself\, a realm where paradox rules.  \;Within that clash Blu me found profound meaning and sublime beauty.

\n

Blume&rsquo\;s deep k nowledge of art history holds these disparate elements together.  \;We see the elegance of Renaissance rendering\, the balance and figurative perf ection of Classical antiquity\, the rule-breaking energy of Modernism\, and the spontaneity of folk art.  \;The latter reflects his Russian Jewish roots and his embrace of the culture of his adopted land\, America.  \ ;Together with his understanding of the emotional properties of color\, the structural backbone of architecture\, and the physicality of sculpture\, B lume was able to corral these elements into a surreal narrative.  \;&nb sp\;

\n

Adding richness to Blume&rsquo\;s already complex mix of influ ences was his involvement with metaphysical experimentation.  \;His int erest in Automatism and &ldquo\;automatic writing&rdquo\; found its way int o his preliminary studies for paintings and his works on paper in particula r\, where he allowed his hand to move spontaneously across a surface.   \;The results are dynamic works of flowing lines and exciting shapes existi ng in metaphysical tension\, where the physical facts of the world meet the whispered secrets of the mind and spirit.

\n

In a life that spanned n early the entirety of the 20th Century\, Blume&rsquo\;s art recorded not th e dry facts of that century but the soul of it\, its struggles against inco mprehensible violence\, and its triumphs of survival over man-made madness. This achievement won Blume critical acclaim throughout his career\, winnin g a Guggenheim Fellowship and the Carnegie International Prize in the 1930s . \; His work is represented in major public and private collections in cluding The Metropolitan Museum of Art\, Museum of Modern Art\, and The Whi tney Museum of American Art in New York\; the Smithsonian Institution of Am erican Art in D.C.\; Carnegie Museum of Art in Pittsburgh\; Museum of Fine Arts in Boston and the Art Institute of Chicago\, among others.

\n

&nb sp\; \;

\n

For additional information and images\, contact

\n

Mikaela Sardo Lamarch e

\n

curator@acagalleries.com

DTEND:20150131 DTSTAMP:20150127T103202 DTSTART:20141106 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364430 END:VEVENT BEGIN:VEVENT DTEND:20141106T200000 DTSTAMP:20150127T103202 DTSTART:20141106T180000 GEO:40.7452665;-74.0083239 LOCATION:ACA Galleries\, Est 1932\,529 West 20th Street (5th floor) bt 10th and 11th Ave\nNew York\, NY 10011 SEQUENCE:0 SUMMARY:Peter Blume (1906-1992): Paintings\, Sculpture and Works on Paper\, Peter Blume UID:364431 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150110 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ponza and Roma\, Paul Thek UID:366524 END:VEVENT BEGIN:VEVENT DTEND:20150110T200000 DTSTAMP:20150127T103202 DTSTART:20150110T180000 GEO:40.7497717;-73.9976946 LOCATION:Alexander and Bonin\,132 10th Ave. between 18th and 19th streets i n Chelsea\nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Ponza and Roma\, Paul Thek UID:366525 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alexander Gray Associates pres ents an exhibition of work by Hugh Steers (b.1962\, Washington\, DC &ndash\ ; 1995\, New York)\, including paintings and works on paper produced betwee n 1990 and 1992 that exemplify Steers&rsquo\; virtuous use of light and col or to render allegorical and humanist images. The featured works illustrate his creative process of working through ideas and formal concerns by gener ating expressionistic oil on paper sketches before painting larger composit ions on canvas. The exhibition positions Steers&rsquo\; residency at Skowhe gan School of Painting and Sculpture in the summer of 1991\, as a turning p oint in the artist&rsquo\;s practice. Through the 1980s\, Steers painted in teriors scenes as he gradually developed an aesthetic characterized by vivi d colors. \;While at Skowhegan\, he turned toward outdoor landscapes\,& nbsp\;brightening his color palette \;and emphasizing the presence of n atural light. The works on exhibit reveal Steers&rsquo\; ability to render light through color\, often suffusing his scenes with the confluence of bot h natural and artificial light references and resulting in visually powerfu l scenes imbedded with a heightened intimacy.

Hugh Steers&rsqu o\; understanding of color and light\, and his ability to express a wide ra nge of emotions through figuration\, reveal 
his deep knowledge of and dire ct influences from Art History. The contrasting lighting and glow of his wo rk often reference Michelangelo Merisi da Caravaggio\, his elongated and sh arp figures are informed by El Greco\, his intimate imagery and unorthodox poses point to Pierre Bonnard and Edgar Degas\, and his figurative composit ions speak to Edward Hopper. Grounded in technique and the history of Weste rn painting\, he described his work as &ldquo\;allegorical realism&rdquo\; designed &ldquo\;to draw 
the viewer in through the lure of a comfortingly recognizable style and then confront him with a subject matter of a 
challe nging nature.&rdquo\; \;

Primarily depicting isolated soli tary figures or couples\, Steers presents the viewer with ambiguous and dis concerting scenes\, suggesting\, but not fully defining narrative content. In Telephone Poles \;(1991)\, created at Skowhegan\, the plung ing perspective of a simultaneously bright and shadowed bucolic landscape c enters on a lone male figure with a bag over his head\, dwarfed by skewed a nd looming telephone poles. Diagnosed in 1987 with HIV\, Steers&rsquo\; sub ject matter often speaks to the experience of living through \;an evolv ing Queer identity and the devastating AIDS crisis. Much of his work addres sed illness\, isolation\, alienation\, companionship\, and sexuality\, as e mbodied in \;Maroon Shed \;(1991)\, also done during the s ummer Residency. \;While he described his images as &ldquo\;metaphors t hat come from very specific needs and things on my part\,&rdquo\; he repeat edly insisted that the meanings of his paintings depended on what the viewe r brings to them. For Steers\, his work powerfully embodies the clash betwe en mass culture and personal instinct. \;

DTEND:20150214 DTSTAMP:20150127T103202 DTSTART:20150108 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Day Light\, Hugh Steers UID:366526 END:VEVENT BEGIN:VEVENT DTEND:20150108T200000 DTSTAMP:20150127T103202 DTSTART:20150108T180000 GEO:40.74975;-74.003741 LOCATION:Alexander Gray Associates\,508 West 26 Street #215 \nNew York\, NY 10001 SEQUENCE:0 SUMMARY:Day Light\, Hugh Steers UID:366527 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Barbara L. Gordon collecti on offers a stunning presentation of American folk art made primarily in ru ral areas of New England\, the Midwest\, and the South between 1800 and 192 0. More than sixty works of art\, including still-life\, landscape\, allego rical\, and portrait paintings\, commercial and highly personal sculpture\, and distinctive examples of art from the German-American community exempli fy the breadth of American creative expression by individuals who did not a lways adhere to the academic models that established artistic taste in urba n centers of the East Coast.

The exhibition is drawn from the Barbara L. Gordon collection and is organized and circulated by Art Servic es International\, Alexandria\, Virginia.

Major support for t he presentation at the American Folk Art Museum is provided by HISTORY®\ ;.

The exhibition is accompanied by a full-color catalog copub lished by ASI and the international publishing firm SKIRA/Rizzoli.

\n

Additional support is provided by Joyce Berge r Cowin\, the David Davies and Jack Weeden Fund for Exhibitions\, public fu nds from the New York City Department of Cultural Affairs in partnership wi th the City Council\, and the New York State Council on the Arts with the s upport of Governor Andrew Cuomo and the New York State Legislature.

DTEND:20150308 DTSTAMP:20150127T103202 DTSTART:20141216 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361567 END:VEVENT BEGIN:VEVENT DTEND:20141216T173000 DTSTAMP:20150127T103202 DTSTART:20141216T103000 GEO:40.7731765;-73.9814441 LOCATION:American Folk Art Museum\,2 Lincoln Square \nNew York\, NY 10023 SEQUENCE:0 SUMMARY:A Shared Legacy: Folk Art in America UID:361568 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present Archive\, its third solo show with Annette Kelm. Interested in typologies\, models of mass production\, the function of obje cts and the nature of their representation\, stylistic developments in patt erned textiles\, design\, and technology\, Annette Kelm&rsquo\;s work confl ates several genres in single images\, or develop single motifs in series o f images that combine a variety of artistic\, historical\, and cross-cultur al references.

\n

Kelm&rsquo\;s newest p hotographs belie an interest in cultural history based on her investigation s of archives and institutional modes of representation. Three series of wo rks form the exhibition: images of vitrines\, taken in German museums\, tha t capture the style of the 70s and 80s\, images of pink overalls arranged i n the artist&rsquo\;s studio\, and photographs of white cloaks painted with protest slogans. All the works are tied to German feminist movements of th e last 50 years.

\n

Latzhose (Dungar ees)\, 2014 are four works in which the photographed object is a pair of purple overalls arranged and displayed on the neutral\, flat background of Kelm&rsquo\;s studio floor. In Germany during the 70&rsquo\;s overalls ( dungarees) were perceived as typical men&rsquo\;s work wear\, but female ac tivists and their supporters dyed them purple - red conventionally stood fo r the female and blue for male\, therefore purple was the color in between\ , ultimately becoming a symbol of women&rsquo\;s liberation. The myriad ser ial formal configurations of the item in Kelm&rsquo\;s photographs reinforc e the overalls as a symbol &ndash\; while also foregrounding the quotidian aspect of these socio-political signifiers that crowd our visual world.

\n

The artist explores forms of protest dev eloped by the actress\, sociologist and activist Hannelore Mabry (1930-2013 )\, who resided in Munich from 1966 until her death last year\, as well as other members of the Neue Frauenbewegung (New Women&rsquo\;s Movem ent) in Germany. Intentionally deploying a direct and documentary-like styl e\, the photographs depict Kö\;rperüberhä\;nge (body cloaks)\, in the archive of Munich&rsquo\;s Institut für Zeitgeschichte (Institute for Contemporary History)\, which were worn during demonstrations. These robes and capes were made out of bed sheets and painted with large letters and bo ld political slogans. For Kelm they function as tropes for Mabry&rsquo\;s p olitical agenda and legacy\, as well as for the student rebellions of the 1 960s\, which mounted the struggle for women&rsquo\;s rights on an unprecede nted scale.

\n

Finally\, a small group o f photographs taken in history museums in Munich and Karlsruhe will be exhi bited\, which feature tableaus of the &ldquo\;style&rdquo\; of the 70s and 80s (including the overalls). These images question how these activist gest ures and tropes are portrayed as curt and cliché\;d rather than compl ex political movements of their time.

\n

Annette Kelm (*1975\, Stuttgart\, Germany) lives and works in Berlin. Her work has been presented in solo exhibitions at international institutions\, including Espace LouisVuitton\, Munich and Kö\;lnischer Kunstverein (2 014)\, Presentation House Gallery\, Vancouver (2012)\, Bonner Kunstverein ( 2011)\, Art Institute for Contemporary Art\, Berlin (2009)\, Kunsthalle Zur ich (2009) and CCA Wattis Institute\, San Francisco (2008). In addition\, A nnette Kelm's works were featured in numerous group exhibitions\, most rece ntly at MoMA\, New York (2013) and Frankfurter Kunstverein (2013). In 2012 she participated in the 12th Istanbul Biennial and 2011 in the 54th Venice Biennial.

\n

She will have a solo show a t the Museum of Contemporary Art in or Detroit\, curated by Jens Hoffman\, in 2016.

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150122 GEO:40.7472381;-74.0051301 LOCATION:Andrew Kreps Gallery @ 535 West 22nd\,535 West 22nd Street \nNew Y ork\, NY 10011 SEQUENCE:0 SUMMARY:Archive\, Annette Kelm UID:371312 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Andrew Kreps Gallery is pl eased to present Cheyney Thompson&rsquo\;s sixth solo exhibition at the gal lery entitled \;Birdwings and Chambered Shells. \;The show will include paintings and a set of drawings\, all with \;new optimize d titles. \;Thompson&rsquo\;s latest series of works continue his inves tigation of the technology\, production and distribution of painting. The w orks on view are based on the random walk algorithm\, a formalization of Br ownian motion that is used in financial instruments to model market behavio r.

\n

Combining models of standardizatio n\, in the use of Munsell&rsquo\;s color system\, with models of dynamic pr ocesses\, in the use of random walks\, the resulting works attempt to trace a line between painting&rsquo\;s twin imperatives of capture and exposure.

\n

The show takes its title from Don De Lillo&rsquo\;s novel \;Cosmopolis\, from hedge fund manager&rs quo\;s Eric Packer&rsquo\;s hyperbolic ode to the Efficient Market Hypothes is\, in which he claims to recognize the &ldquo\;heave of the biosphere&rdq uo\; in the streams of numbers and charts of currency indexes.

\n

Cheyney Thompson has had solo exhibitions at the MIT List Visual Arts Center\, Cambridge\, Massachusetts (with an accompanyi ng monograph)\, and the Kunstverein Braunschweig\, Germany\; and his work w as included in the 2008 Whitney Biennial. \; Group shows include: U ne Histoire\, Centre Pompidou\, Paris\, France\, Chat Jet - Painti ng &lsquo\;Beyond&rsquo\; The Medium at Kü\;nstlerhaus Graz\; The Indiscipline of Painting\, Tate St. Ives\, England\; Systems A nalysis at West London Projects and Langen Foundation\, Germany\; Greater New York at P.S.1 Contemporary Art Center and The Venice Bienn ale\, Venice\, Italy in 2003.

\n

Cheyney Thompson&rsquo\;s work is part of the permanent collections of MoMA\, New York and Centre Pompidou\, Paris.

\n

For more information and images please contact Hannah Mandel at: \;hannah@ andrewkreps.com

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150122 GEO:40.7477457;-74.0063477 LOCATION:Andrew Kreps Gallery @ 537 W. 22nd\,537 W. 22nd St. \nNew York \, NY 10011 SEQUENCE:0 SUMMARY:Birdwings and Chambered Shells\, Cheyney Thompson UID:371313 END:VEVENT BEGIN:VEVENT DESCRIPTION:

We are pleased to announce our representation of Erik Van Lieshout and his first solo show at the gallery .

DTEND:20150228 DTSTAMP:20150127T103202 DTSTART:20150115 GEO:40.7463808;-74.007077 LOCATION:Anton Kern Gallery\,532 West 20th Street \nNew York\, NY 10011 SEQUENCE:0 SUMMARY:I am in Heaven\, Erik van Lieshout UID:367279 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Unsolicited Proposal Progra m winning exhibition.
Learn more about the Unsolicited Proposal Program.

\n

Contemporary musicians and sound artists are indebted to the 19th century German physicist Herman Helmholtz (1821-1894) who authored On the Sensations of Tone as a Physiological Basis for th e Theory of Music (1862). In the book\, Helmholtz explored the mathema tical\, physiological\, and perception effects of sound: &ldquo\;We perceiv e that generally\, a noise is accompanied by a rapid alternation of differe nt kinds of sensations of sound. Think\, for example\, of the rattling of a carriage over granite paving stones\, the splashing or seething of a water fall or of the waves of the sea\, the rustling of leaves in a wood.&rdquo\;

Artistic disciplines examining sound have emerged since Helmh oltz&rsquo\;s research\, &ldquo\;the waves of the sea&rdquo\; has turned in to acoustic ecology that examines how sound is an integrative principle in human and natural environments. Field recordings have proliferated in recen t years due to the availability and portability of high quality recording e quipment\, enticing composers and sound artists to take their studios to th e edge of the wilds or down the street. The exhibition and two public perfo rmance events draw together nine artists/composers whose works poetically m ap sound that reflect and emerge from their interaction with the natural en vironment.

\n

Unsolicited Proposal Progr am Winner 2014-15

\n

Alastair No ble is an environmental/installation artist and printmaker from th e UK\, now based in New York City. His artistic practice is a response to a rchitecture and the natural environment and reflects on particular sites in the context of poetry and literature. In May 2014 he was an artist-in-resi dence at the Marsh-Billings-Rockefeller National Historical Park in Woodsto ck\, Vermont. Alastair's artistic career spans 30 years with exhibitions an d residencies in the UK\, Peru\, Chile\, Bulgaria\, and Italy. He has taugh t and lectured at numerous colleges\, universities\, and public institution s\, and has curated exhibitions and organized symposiums on art\, poetry\, and the environment. His essays\, articles\, and reviews on art and archite cture have also appeared in national and international publications.

DTEND:20150307 DTSTAMP:20150127T103202 DTSTART:20150115 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Foot Notes: On the Sensations of Tone\, Una Lee\, Annea Lockwood\, Chris H. Lynn\, Robert Macfarlane\, Ed Osborne\, David Rothenberg\, Chris W atson\, GEORGE QUASHA\, Charles Stein UID:367280 END:VEVENT BEGIN:VEVENT DTEND:20150114T200000 DTSTAMP:20150127T103202 DTSTART:20150114T180000 GEO:40.719022;-74.004432 LOCATION:Apexart\,291 Church Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Foot Notes: On the Sensations of Tone\, Una Lee\, Annea Lockwood\, Chris H. Lynn\, Robert Macfarlane\, Ed Osborne\, GEORGE QUASHA\, David Roth enberg\, Charles Stein\, Chris Watson UID:367281 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General presents Li ly&rsquo\;s Pool\, a group exhibition organized in partnership with kim? Contemporary Art Centre\, Riga\, Latvia as part of the Internat ional Collaborations program.

\n

Now I will tell you what happened at the Lily&rsquo\;s Pool. A welcome ceremon y. It was on the verge of North and South. Yet everyone remembered a sunlig ht. Some say it was a perpetual flight\, others claim the moon needed one h alf of a turn.

\n

Featuring the wor k of seven emerging Latvian artists\, the group exhibition Lily&rsquo\; s Pool attempts to capture the presence of subtle\, tangible\, and poe tic phenomena within a mediated post-Internet\, &ldquo\;post-natural&rdquo\ ; culture. The participating artists utilize the varied mediums of drawing\ , painting\, sculpture\, textile\, and performance to grapple with the pers onal and historical memory of materials in a contemporary society engrossed in the fleeting structure of the digital. The works in the exhibition crea te environments that are at once palpable and uncanny\, examining how the p hysical and social body is affected by accelerated temporalities and the se nsations of high-speed browsing and sharing in daily life.

\n

A karaoke performance by Kaspars Gro&scaron\;evs will take place during the opening reception on January 22\, 2015. The performa nce is inspired by Latvian sculptor and writer Edward Leedskalnin (b. 1887) who crafted the Coral Castle monument in Florida after emigrating to the United States. Coral Castle was dedicated to the artist&rs quo\;s former Latvian lover he called &ldquo\;Sweet Sixteen.&rdquo\;

\n< p style="text-align: justify\;">Kaspars Gro&scaron\;evs (1 983) graduated from the Art Academy of Latvia. Recent solo exhibitions incl ude OAOA (Jūras griesti) (in collaboration with Oļa Vasiļjeva) at Jūras Vārti\, Ventspils (2014)\; 00:10:00:00 at kim? Cont emporary Art Centre\, Riga (2013)\; I/O. Without Enemies at k im? Contemporary Art Centre\, Riga (2011) and H at Kanepes Culture Cen tre\, Riga (2012). Gro&scaron\;evs&rsquo\; work has been shown in group exh ibitions such as Vortex at Project Space Garage\, Moscow (2014) an d Aspen-Kemmern at kim? Contemporary Art Centre\, Riga (2 014). He has also collaborated with Vivienne Griffin and Cian McConn on var ious performances and contributed to Studija magazine. Gro&scaron\ ;evs is a co-founder and curator of gallery 427 in Riga.

\n

Leva Kraule (1987) is currently a MA c andidate in Visual Communication at the Art Academy of Latvia. Recent solo exhibitions include Nobody dances like that anymore at gallery 427 \, Riga (2014)\; &hellip\;if all you told was turned to gold at Vi ta Kuben\, Umeå\; (2014)\; Loneliness will be my greatest treasure at Kalnciema kvartāls gallery\, Riga (2014)\; 11 out of 10 a t kim? Contemporary Art Centre\, Riga (2013) and Long Awaited Holidays by the Abyss of Fictitious Memories at the gallery Bastejs\, Riga (2012). Kraule is a co-founder and curator of gallery 427 in Riga.

\n

Kristīne Kursi&scaron\;a (1979) attended Higher Courses of Film Writers and Directors Institute in Moscow and received her M.A. in Visual Communication at Art Academy of Lat via. Kursi&scaron\;a has been collaborating with artist Miks Mitrēvics sinc e 2003. Recent solo exhibitions include April showers (with M. Mit rēvics) at P/////AKT\, Amsterdam (2014)\; Let me google that for you (with M. Mitrēvics) at Netwerk\, Contemporary Art Center in Aalst\, Belg ium (2014) and Galerie VidalCuglietta in Brussels (2013) and Seven Thur sdays (with M. Mitrēvics) at kim? Contemporary Art Centre\, R iga\, (2012). Kursi&scaron\;a&rsquo\;s work has been shown in group exhibit ions such as Society Acts &ndash\; The Moderna Exhibition 2014 at Moderna Museet Malmö\;\, Sweden (2014) and Vortex at Project S pace Garage\, Moscow (2014).

\n

Miks Mitrēvics (1980) received his Postgraduate (Laureate) at HISK &ndash\; Higher Institute for Fine Arts in Belgium and his M.A. in Visual Communication at Art Academy of Latvia. Mitrēvics has been collaborating wi th artist Kristīne Kursi&scaron\;a since 2003. Recent solo exhibitions incl ude April showers (with K. Kursi&scaron\;a) at P/////AKT\, Amsterd am (2014)\; Let me google that for you (with K. Kursi&scaron\;a) a t Netwerk\, Contemporary Art Center in Aalst\, Belgium (2014) and Galerie V idalCuglietta in Brussels (2013) and Seven Thursdays (with K. Kurs i&scaron\;a) at kim? Contemporary Art Centre\, Riga (2012). Mitrēv ics&rsquo\; work has been shown in group exhibitions such as Society Ac ts &ndash\; The Moderna Exhibition 2014 at Moderna Museet Malmö\;\ , Sweden (2014) and Vortex at Project Space Garage\, Moscow (2014) . Mitrēvics represented Latvia in the 53rd International Art Exhibition of the Venice Biennale.

\n

Daria Me lnikova (1984) attended the Art Academy of Latvia\, Department of Visual Communication. Recent exhibitions include Brewing Harmony a t Gallery Vita Kuben\, Umeå\;\, Sweden (2014)\; A Green Silhouette of Grey at kim? Contemporary Art Centre\, Riga (2014) and Dashing Lines and Forming Heaps at kim? Contemporary Art Ce ntre\, Riga (2011). Melnikova&rsquo\;s work has been shown in group exhibit ions such as Literacy-Illiteracy at the 16th Tallinn Print Trienni al\, KUMU\, Tallinn (2014)\; Present Tense at Kalmar konstmuseum\, Kalmar (2014)\; Aspen&ndash\;Kemmern at kim? Contemporar y Art Centre\, Riga (2014)\; Vortex at Project Space Garage\, Mosc ow (2014)\; Sculpture Is Space at Hobusepea\, Tallinn (2013) and < em>24 Spaces &ndash\; Cacophony\, Malmö\; Konsthall\, Malmo (2013) .

\n

Evita Vasiļjeva (1 985) attended the Gerrit Rietveld Academy in Amsterdam and is currently a r esident at De Ateliers\, Amsterdam. Recent solo exhibitions include Par allel to Vertical at kim? Contemporary Art Centre\, Riga (201 3). Vasiļjeva&rsquo\;s work has been shown in group exhibitions such as Aspen-Kemmern at kim? Contemporary Art Centre\, Riga (2014)\ ; Vortex at Project Space Garage\, Moscow (2014)\; NF presents : from A to BE to SEE to D at kim? Contemporary Art Centre\, Riga (2014)\; Monograms at Gallery Vita Kuben\, Umeå\;\, Swed en (2014) and Indian Summer at Gallery Fons Welters\, Amsterdam (2 013).

\n

Armands Zelčs (1978) attended the Art Academy of Latvia\, Department of Visual Communicat ion\, and the Berlin University of the Arts (UdK)\, Fine Arts Department. R ecent solo exhibitions include Trails of Fading Landscapes (2013) and That is not which is. The name of that is known (2011) at kim? Contemporary Art Centre in Riga. Zelčs&rsquo\; work has been show n in group exhibitions such as 24 Spaces &ndash\; Cacophony at Mal mö\; Konsthall\, Malmo (2013)\, Exchange at Gallery Stiftung a kku Emmen\, Lucerne\, Switzerland (2012)\; A Smiling Lady on a Tiger at Stä\;dtische Galerie\, Bremen\, Germany (2010) and Qui Vive?< /em> at the Moscow Museum of Modern Art (2010).

\n

kim? Contemporary Art Centre (Riga\, Latvia) was founded in 2009 and supports the developments o f emerging artists\, curators\, and theoreticians through exhibitions\, lec tures\, publications\, and other programs related to recent art\, theory\, and social issues. In 2013\, kim? and Art in General co-curated the Latvian pavilion at the 55th Venice Biennale. Recent international collaboration p rojects include Vortex at the Garage Museum for Contemporary Cultu re in Moscow\; a series of three solo exhibitions at Vita Kuben Gallery in Sweden\, and Ola Vasiljeva&rsquo\;s New Commission Jargot at Art in Gen eral.

\n

Art in General would especially like to acknowledge the support of the Trust for Mutual Understanding\, Ne w York.

\n

This exhibition marks the ope ning of the public diplomacy and cultural program for the Latvian Presidenc y of the Council of the European Union in the United States of America.

\n

Curated by kim? Contemporary Ar t Centre

\n

 \;

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150122 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Lily's Pool\, Kaspars Groševs\, Leva Kraule\, Kristine Kursisa\, Da ria Melnikova\, Evita Vasiljeva\, Armands Zelčs\, Miks Mitrevics UID:370331 END:VEVENT BEGIN:VEVENT DTEND:20150122T200000 DTSTAMP:20150127T103202 DTSTART:20150122T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Lily's Pool\, Kaspars Groševs\, Leva Kraule\, Kristine Kursisa\, Da ria Melnikova\, Miks Mitrevics\, Evita Vasiljeva\, Armands Zelčs UID:370332 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present Sprawl\, a New Commission with Lea Cetera in the Storefront Project Space.

\n

Performances: Thursday\, January 22\, 6&nd ash\;8pm\; Saturday\, February 21\, 5&ndash\;6pm

\n

In this newly created installation\, Cetera draws inspiration from the consumer la nguage of the storefront window\, employing its specific layers of flattene d perspective produced by glass-walled architecture\, and tight proximity o f space that is both public and private. As with her broader artistic pract ice that often updates the concerns of 1960s Minimalism\, Cetera here engag es with the phenomenological aspects of navigating the built environment th at influence our psychological and emotional states. This project includes performance\, live-feed and prerecorded video\, and a series of new sculptu res that recall the window grates and security fences that are prominent fe atures of the urban landscape. Her objects reference these peripheral\, pre cautionary elements found in New York City in their formal relationship to the human body&rsquo\;s scale and shape\, as well as their functionality in guiding or blocking the body&rsquo\;s capacity to grasp\, reach\, or climb . Addressing the condition of simultaneous visibility and invisibility that comes with city dwelling\, Sprawl draws the street viewer and pas serby into a fourth\, projected space that implicates them in the acts of v iewing and being viewed as participants in the constructed and surveilled e nvironment. For the artist\, these gestures serve as metaphors for aggressi on\, control\, and self-preservation\, as well as comfort\, safety\, and or der&mdash\;all omnipresent concerns of contemporary urban life.

\n

Emerging from a collaborative background in theater and filmmaking\ , Cetera works in video\, sculpture\, and performance to produce temporal i nstallations that examine the space between object and body\, public and pr ivate\, virtual and real. Utilizing techniques culled from the moving image \, stage design\, and puppetry\, her work investigates constructed identiti es\, the mediation of contemporary technology\, the alienation of the human body\, and the aura of fetishized objects.

\n

Lea Cetera has performed and exhibited work in the United States and a broad at venues including The Jewish Museum\, New York (2014)\; Disjecta Co ntemporary Art Center\, Portland (2014)\; SculptureCenter\, Long Island Cit y (2013)\; High Desert Test Sites\, Joshua Tree (2012)\; New Wight Biennial \, Los Angeles (2012)\; Anthology Film Archives\, New York (2010)\; and Por tugalArte Biennial\, Lisbon (2010). Cetera holds an MFA from Columbia Unive rsity (2012) and a BFA from the Cooper Union School of Art (2005). She live s and works in New York City.

\n

Press contact: Aimee Chan-Lindquist\, aimee@artingeneral.org

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150122 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Sprawl\, Lea Cetera UID:370460 END:VEVENT BEGIN:VEVENT DTEND:20150122T200000 DTSTAMP:20150127T103202 DTSTART:20150122T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:Sprawl\, Lea Cetera UID:370461 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Art in General is pleased to present \;A Random Hist ory of The Stick\, a solo exhibition with Michael Linares in the Mus&e acute\;e Minuscule.

\n

As early as the Pliocene epoch\, the stick as a specific\, three-dimensional form has played a vital role in the technolog ical\, social\, political\, aesthetic\, and religious development of humani ty and some animal species. The chimpanzee&rsquo\;s tool that catches termi tes\, the facial ornamentation of the Yanomami people\, the Shulgi of Ur&rs quo\;s weaponry&mdash\;as well as the toothpick\, knitting needle\, and vau lting-pole&mdash\;all represent a minute slice of the myriad transfiguratio ns that this form has undergone throughout history.

\n

For Linares\, t he stick serves as concrete evidence of the neurological evolution of some animals and indicates their ability to create metaphor. It is an ancient ex ample of the moment when an object\, such as a branch or bone\, ceases to b e what it inherently is and becomes an instrument with transformed meaning and purpose. As such\, Linares considers the stick to be an archetype of a &ldquo\;thing\;&rdquo\; a vessel devoid of connotation that anticipates sig nification through utility. Treating the stick as a readymade\, Linares div ests it of any original use value or context\, presenting the form as depen dent on conceptual shifts with radically altered implications and functiona lity.

\n

A Random History of The Stick \;is the formal ou tcome of Linares&rsquo\; investigation into the history and quotidian uses of stick-like objects&mdash\;defined as long\, rigid shapes\, the length of which are dependent on function and proportion in relation to the body. As a simple machine\, a stick can transform energy\, increasing tangible forc e as with a baseball bat\, or symbolic power as with the baton\, wand\, or sceptre. His study emulates the exploratory and archaeological method of pr ospection&mdash\;involving image\, text\, video and data gathering&mdash\;w ith the aim to generate an audiovisual archive that represents a collective knowledge base. In this project\, Linares exploits the gaps that exist in science and history as opportunities to create speculative associations and narrative. Comprised of YouTube clips edited into a layered\, moving-image collage\, this video installation of the same title is part of a larger bo dy of works in progress.

\n

Through a wide range of styles and mediums including installation\, assemblage\, sculpture and painting\, Michael Lin ares&rsquo\; artistic practice consistently raises the possibility of new r elationships between objects and signification. Mixing the foreign with the familiar and the marvelous with the mundane\, Linares disorganizes what is perceived as common sense to create unexpected combinations that opportune new aesthetic and intellectual understanding. Central to his practice is t he exploration of new connections between audience and art in a way that as serts the spectator&rsquo\;s role in the production of meaning. Rather than an aesthetic experience in and of itself\, the artist sees his work as a v ehicle for possible aesthetic experiences that remain open\, ever changing\ , and ready to be redefined.

\n

Michael Linares \ ;was born in Bayamó\;n\, Puerto Rico and is currently based in San Ju an\, PR. He holds a Bachelor of Fine Art from the \;EAP \;School of Fine Arts of San Juan\, where he currently teaches\, and is a MA candidate in Archeology at the Centro de Estudios Avanzados de Puerto Rico y El Cari be. In 2010\, Linares completed the Beta-Local residency program (Independe nt Studies) in San Juan. Notable solo exhibitions include \;Outside In / Out\,MACO \;Art Fair\, Mexico City (2014)\; \;Unpain ting\, Walter Otero Gallery\, San Juan (2013)\; \;Was it a rat I saw?\, Ltd Los Angeles\, Los Angeles (2013)\; \;Así\; las cosas (This being so)\, Bass Museum of Art\, Miami (2012)\; \ ;Useless\, \;PINTA \;Art Fair\, London (2010)\; and \; Found &\; Lost\, Museum of Contemporary Art of Puerto Rico (200 9). \;

\n

Press contact: Aimee Chan-Li ndquist\, aimee@artingeneral.org

DTEND:20150221 DTSTAMP:20150127T103202 DTSTART:20150122 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:A Random History of The Stick\, Michael Linares UID:370470 END:VEVENT BEGIN:VEVENT DTEND:20150122T200000 DTSTAMP:20150127T103202 DTSTART:20150122T180000 GEO:40.718124;-74.001856 LOCATION:Art in General\,79 Walker Street \nNew York\, NY 10013 SEQUENCE:0 SUMMARY:A Random History of The Stick\, Michael Linares UID:370471 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The exhibition Welcome To My World presents artworks and a book produced with students in Artist s Space’'s education program\, Expanded Art Ideas\, based at two New York C ity schools: PS140 Nathan Straus on the Lower East Side and MS324 Patria Mi rabal in Washington Heights. Featuring drawing\, painting\, sculpture\, pho tography\, video and poetry produced in the last four years\, Welcome t o My World also includes archived documentation of key arts projects i nitiated since 1998. These works and projects are examples of how the progr am is ingrained in the social context of the schools\, and in the lives of the students.

Expanded Art Ideas (EAI) was founded in 1996 by ar tist Chrysanne Stathacos and Ellen Salpeter\, Director of Thread Waxing Spa ce\, and under Stathacos's’ guidance it became a program of Artists Space i n 2001. EAI is rooted in the principle of placing working artists in New Yo rk City public schools\, to encourage students at all levels to develop an artistic voice. The program provides access to art classes for 6th\, 7th an d 8th grade students and also augments teaching in the language arts\, thro ugh residencies with established poets.

\n

Expanded Art Ideas affirms the important role that the arts play in educ ational contexts and particularly in middle schools\, where students are fa ced with formative decisions about their future studies. More broadly\, the projects and classes led by artists provide the students with insight into how visual and textual expression can be used to articulate their personal circumstances\, and to question the world around them. In the light of sev ere cuts to funding for arts education in New York City over the past decad e\, and the subsequent disappearance of arts classes in many public schools \, programs such as EAI often provide the sole access for students to guida nce and discussion with artists and art educators. At PS140\, the program a lso helps students apply for admission to specialized high schools of art\, design\, and fashion in New York City.

The work presented in < em>Welcome To My World
provides a window into the students'’ approache s to producing art\, from creative exercises produced for their high school applications\, to the use of photography and video to document their urban environments\, and the collaborative production of paintings representing the experience of migration from one country to another. The exhibition als o includes projects made in relation to recent exhibitions at Artists Space \, from painted books inspired by the work of Zilia Sá\;nchez\, to a series of documentary videos made with Marco Vera from Mexicali Rose. A fur ther section of the exhibition looks back to projects undertaken at the sch ools in the Lower East Side and Washington Heights in the period after 9/11 \, including video and poems from The Talisman Project\, and texts and photographs from East-West Dialogues\, a 2000-2003 exchange p rogram conducted with students from the Tibetan Children'’s Village School in Dharamsala.

The teaching artists currently working at PS140 and MS324 are Joy Episalla\, Nancy Friedemann\, Susan Hamburger\, Mary Simp son\, Sara Jane Stoner\, Kate Temple and Marco Vera.

Former tea ching artists include Annie Bien\, A Constructed World\, Stefania Heim\, La uren Lesko and Miriam Schaer\, with project assistance from Ed Burke and So phie Green.

DTEND:20150208 DTSTAMP:20150127T103202 DTSTART:20141211 GEO:40.7188763;-74.0033279 LOCATION:Artists Space : Books & Talks\,55 Walker Street \nNew York \, NY 10013 SEQUENCE:0 SUMMARY:Welcome To My World UID:367398 END:VEVENT BEGIN:VEVENT DESCRIPTION:
\n

Coinciding with the worldwide release of Laura Poitras&rsquo\; widely anticipated and critically acclaimed documentary CITIZENFOUR\, Artists Space presents an exhibition dedicated to the filmmaker&rsquo\ ;s 9/11 Trilogy\, featuring her previous features My Country\, My Country\, and The Oath as well as three short films T he Program\, Death of a Prisoner\, and PRISM: Snowden Int erview. Together with CITIZENFOUR\, these films rigorously do cument and address the expansion of the security state in the aftermath of 9/11.

The 9/11 Trilogy considers\, both obliquely and d irectly\, a period in which access to information\, and agency in relation to that information\, has become contested ground among governments\, citiz ens\, security agencies\, and the media. The films collectively raise vital questions around the role of critical visual culture at a historical junct ure at which the construction of a social imaginary of &ldquo\;freedom&rdqu o\; is positioned at odds with transparency and accountability.

My Country\, My Country (2006)\, The Oath (2010) and CITIZENFOUR all revolve around individuals whose lives\, in differing ways\, have become intrinsically tied to the &ldquo\;war on terror&rdquo\; and U.S. military operations overseas. Each film stems from an encounter be tween Poitras and one of these people: Dr. Riyadh al-Adhadh\, a Sunni elect oral candidate in the 2005 Iraqi elections in Baghdad\; Abu Jandal\, a taxi -driver in Sana&rsquo\;a\, Yemen\, who had previously served as bodyguard t o Osama bin Laden\; and Edward Snowden\, a National Security Agency computi ng systems contractor turned whistleblower. The writer Janet Malcolm has po sited that: &ldquo\;The moral ambiguity of journalism lies not in its texts but in the relationships out of which they arise.&rdquo\; Poitras&rsquo\; films highlight the complexity at the heart of practices of journalism and reportage\, in the light of contemporary ideological struggles between stat e and citizen. They also crucially trace unfolding relations between U.S. p olitical and military interventions\, and individual positions of resistanc e\, as knotted sites of belief and oppression.

\n
\n
\n

My Countr y\, My Country\, portrays the tragedy and absurdity of the occupation of Iraq through the experience of Riyadh al-Adhadh\, a medical doctor and S unni electoral candidate in Baghdad. Poitras met Dr. Riyadh at Abu-Ghraib p rison where he was recording prisoners&rsquo\; complaints. Subsequently she began visiting his clinic\, meeting his patients and ultimately living wit h his family as she followed their daily lives. Contrasted with footage of U.S. military\, UN officials and private security companies in their orches tration of the country&rsquo\;s 2005 elections\, the film frames a dizzying and disastrous confluence of local and global interests\, within which Dr. Riyadh is an impassioned yet helpless figure.

The Oath originated from visits by Poitras to Sana&rsquo\;a\, Yemen where she rese arched into the lives of Guantanamo prisoners including Salim Hamdan\, bett er known as the driver of Osama bin Laden. Hamdan was the subject of litiga tion in the U.S. Supreme Court that resulted in the disbanding of the Penta gon&rsquo\;s system of military tribunals\, which were found to be unconsti tutional. In the course of her research Poitras met Hamdan&rsquo\;s brother -in-law\, a taxi driver going by the nom de guerre of Abu Jandal. Abu Janda l had also served bin Laden as a bodyguard\, and becomes the ostensible sub ject of The Oath\, paralleling the &ldquo\;ghost&rdquo\; subject o f Hamdan. Poitras&rsquo\; documenting of Abu Jandal&rsquo\;s contradictory statements and motivations\, and his personal conflict over his jihadi oath to bin Laden and the imprisonment of his brother-in-law\, serves as an uns paring\, yet fittingly irreconcilable articulation of the extrajudicial act ions of the U.S. state\, and its human and ideological consequences.
< br />In comparison\, CITIZENFOUR\, now in theatrical release\, hin ges on a moment of reflexivity that suggests the manner in which Poitras&rs quo\; films have inverted typical journalistic relations. In 2013\, Edward Snowden\, a systems analyst contracted to work for the U.S. National Securi ty Agency\, contacted Poitras through encrypted channels. Snowden had ident ified Poitras as a filmmaker whose work directly addressed the apparatus of the security state\, and saw her as a discreet contact through whom it wou ld be possible to make public numerous secrets he was privy to. Poitras' fi rst video interview with Snowden\, in a hotel room in Hong Kong\, provided a vehicle through which the NSA&rsquo\;s PRISM program became known to the world. At Artists Space\, three short films are exhibited that serve as key documents in Poitras&rsquo\; process of investigation and reporting leadin g towards CITIZENFOUR: The Program (2012)\, Death of a Prisone r (2013) and PRISM: Snowden Interview (2013).

\n

This exhibition is supported by the Laura Poitras exhibition supporters circle: Thomas Dozol\, Rob ert Gober &\; Donald Moffett\, Michael Stipe\, Thea Westreich Wagner &am p\; Ethan Wagner\, Anonymous

\n

Screening Hours
My Country\, My Country\, and The Oath
noon\, 2pm and 4pm daily

\n
DTEND:20150215 DTSTAMP:20150127T103202 DTSTART:20141214 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:9/11 Trilogy\, Laura Poitras UID:366563 END:VEVENT BEGIN:VEVENT DTEND:20141213T200000 DTSTAMP:20150127T103202 DTSTART:20141213T180000 GEO:40.7215609;-74.002266 LOCATION:Artists Space: Exhibitions\,38 Greene St. 3rd Floor\nNew York\, NY 10013 SEQUENCE:0 SUMMARY:9/11 Trilogy\, Laura Poitras UID:366564 END:VEVENT END:VCALENDAR