Schiavo Mazzonis Gallery

Cyclorama
Curated by Andrea Torreblanca
Artist: Matts Leiderstam, Salvatore Arancio, Elena Damiani, Haris Epaminonda, Cyprien Gaillard 

Opening reception, 9 May 2013
Exhibition, 10 May - 2 September 2013

Cyclorama is an exhibition that looks into the practice of five artists interested in landscape and history as forms of representation and mediation. Through the appropriation of  archives, photographs and old prints or the reconstruction of legendary histories, Matts Leiderstam, Salvatore Arancio, Elena Damiani, Cyprien Gaillard and Haris Epaminonda look into the past in a kind of fetishistic archeology. However, their interest in recording, restoring and reconfiguring the past is never fully explicit, but rather halfway between the myth and the ability to create various narratives.

Cyclorama takes as a point of departure the panoramas invented by Irish painter Robert Barker with the intention to bring back the notion of perception and knowledge through ways of looking. The "panorama" as a mass medium that gave a large audience the possibility to experience other places (more often landscapes) is an idea that dislocates the modern subject before cinema was even invented. Thus, the concept of landscape is crucial in this exhibition in relation to the turn of the XVII and XVIII centuries and its relationship on how this past gaze is confronted today.


Museo Tamayo Arte Contemporáneo
Paseo de la Reforma y Gandhi s/n, Bosque de Chapultepec
C.P. 11580, Miguel Hidalgo, México, D.F.
T. (5255) 5286 6519
http://museotamayo.org/

Artists:

Abraham Cruzvillegas
Alex Dorfsman
Alfonso Mena Pacheco
Amador Lugo Guadarrama
Andreas Gursky
Andy Warhol
Ángela Gurría
Anna Bjerger
Anthony Goicolea
Bernd y Hilla Becher
Bill Viola
Boris Viskin
Calixto Ramírez
Chris Ofili
Damián Ortega
Daniela Edburg
Edward Burtynsky
Eija-Liisa Ahtila
Eric Pérez
Enrique Metinides
Erinç Seymen
Félix González Torres
Fernanda Brunet
Fernando Aceves Humana
Francisco Castro Leñero
Francisco Toledo
Gabriel Figueroa
Gilberto Esparza
Graciela Iturbide
Gregory Crewdson
Gunther Gerzso
Hiroshi Okada
Hiroshi Sugimoto
Hrair Sarkissian
Ishmael Randall Weeks
Jean-Marc Bustamante
Jorge Méndez Blake
José Arnaud
Julio Galán
Luis Gal
Liliana Porter
Marcela Armas
Marcos Castro
Margherita Spillutini
María José de la Macorra
Mario García Torres
Mauro Giaconi
Miguel Calderón
Miguel Castro Leñero
Nigel Cooke
Olafur Eliasson
Pablo López Luz
Peter Doig
Phil Kelly
Ramiro Chaves
Rineke Dijkstra
Roberto Turnbull
Roni Horn
Rufino Tamayo
Sofía Táboas
Stephen Shore
Tacita Dean
Taka Fernández
Thomas Ruff
Thomas Struth
Verne Dawson
Vicente Rojo
Vija Celmins
William Eggleston
William Kentridge
Wu Chi-Tsung
Yishai Jusidman
Yoshihiko Ueda

Museo Del Palacio de Bellas Artes
Av. Juárez S/N, esquina con Eje Central Lázaro Cárdenas, Centro Histórico
Deleg. Cuauhtémoc,  C.P. 06050
Distrito Federal, México
1º y 2º Piso

http://museopalaciodebellasartes.gob.mx

Lugares extraños
Programa curado por José Roca

25 al 28 de abril de 2 a 9 pm

Artistas Invitados:

Ishmael Randall Weeks, Galería Revolver, Lima
Iosu Aramburu, Galería 80m2, Lima
Alexandre Arrechea, Magnan Metz, Nueva York
Eduardo Basualdo, Galería Ruth Benzacar, Buenos Aires
Fernando Bryce, Galería Lucía de la Puente, Lima
Natalia Castañeda, Galería Nueveochenta, Bogotá
Matías Duville, Galería Luisa Strina, Sao Paulo
Lucia Koch, Galería Nara Roesler, Sao Paulo

Sabemos que paisaje es un concepto creado: el lugar representado se constituye sólo en la medida en que es sujeto de una mirada. Con un ambiente natural cada vez más intervenido y con todo tipo de intereses políticos y económicos en torno al territorio, la noción de paisaje está atravesada por las múltiples contradicciones que implica vivir en la sociedad contemporánea. Esta mirada se expresa en cartografías disidentes o activistas -confluencia entre geografía, ideología y política; en la construcción del territorio a través de los medios, puesto que nombrar y describir es poseer simbólicamente; en la creación de sitios que provocan extrañamiento, desestabilizando las nociones preconcebidas sobre la naturaleza de la arquitectura doméstica o pública; y en la voluntad de proponer formas de vida alternativas o imaginar mundos utópicos, como cuestionamiento al statu quo. El territorio mediado por la mirada sesgada del artista resulta en lugares extraños, polucionados por todo tipo de subjetividades. 
Este programa reúne ocho artistas con diversos enfoques al problema de la construcción de lugar: una conjunción entre arqueología y nostalgia en el dibujo colectivo de Natalia Castañeda; la construcción de lugares improbables realizada por Eduardo Basualdo; los dibujos monumentales de sitios inquietantes de Matías Duville; una mirada a la arquitectura vernácula y a las construcciones de la precariedad en el trabajo de Ishmael Randall Weeks; la irónica mezcla de modernismo arquitectónico y tradición local en el trabajo de Iosu Aramburu; un análisis a las representaciones cartográficas y publicitarias de América Latina en la obra de Fernando Bryce; la deconstrucción de las arquitecturas del poder de Alexandre Arrechea; y la creación de lugares de extrañamiento -entre evocadores y siniestros- a partir de la luz, la sombra y la textura, en el trabajo de Lucia Koch. 
Como fruto de la colaboración entre PArC y FLORA ars+natura, centro de creación contemporánea en Bogotá, Colombia uno de los ocho artistas de los Solo Projects de PArC será seleccionado para una residencia de un mes en Colombia, que dará como resultado una exposición individual en FLORA en el segundo semestre de 2013.

PArC 2013

MAC - Barranco, Av. Grau 1511, Barranco. Lima 04, Perú

http://parc.com.pe/

Senza Titolo by Andrea Sala

Exhibition: 
from 9th April to 14 April 2013

Opening:
Wednesday April 10th,
form 6 pm to 10:30 pm
Opening hours
from 10.30 am to 8 pm

La Galleria Luisa Delle Piane nello spazio di Via Giuseppe Giusti 24 presenta:
“Concrete Island” by Matali Crasset
“Stock Collection” by  Giorgia Zanellato
“Beton Bowls ” by DuccioMaria Gambi
“Senza titolo” by Andrea Sala

“Concrete Island” by Matali Crasset
Un’installazione inedita in cemento disegnata da Matali Crasset in collaborazione con l’editore francese Concrete By LCDA
Concrete Island è una piattaforma composta da un tavolo, una panca – tavolo basso messi in relazione da due pouff mobili, una consolle e una lampada.
Alle pareti pannelli in PanBeton realizzati su disegno della designer.

“Stock Collection” by Giorgia Zanellato
Stock Collection nasce dall’idea di valorizzare i metodi di stoccaggio di diversi materiali; in questo caso dei pannelli in plexiglass e dei blocchi di marmo.
Giorgia Zanellato disegna per la Galleria Luisa Delle Piane una collezione di pezzi che valorizzano l’accostamento e il contrasto creato attraverso semplici forme intersecate tra loro.
La collezione ha un ’impatto forte, netto, inaspettato, ma molto semplice da capire e privo di segreti.
Specchiera
Specchio da tavolo
Tavolino
Lampada da parete
Mensola

“Beton Bowls ” by DuccioMaria Gambi
Beton Bowls è un progetto in progress che dalla nascita dell’Atelier parigino di Duccio Gambi ha prodotto una vasta gamma di “contenitori” come risultato di un susseguirsi di esperimenti sulle potenzialità tecniche del cemento. Il Befuph è un tipo particolare di cemento che riesce a copiare con un altissimo grado di dettaglio la texture del materiale  nel quale viene colato e, attraverso l’aggiunta di pigmenti, può assumere svariati colori. L’immagine tradizionale del cemento utilizzato in edilizia, freddo e pesante si traduce così in forme morbide e in finiture che, riscaldando la superficie della matrice, ne confondono la percezione.L’opera di Gambi dialoga nell’installazione creata per la Galleria con arredi in cemento di altri tempi, che rimandano ad un’immagine gentile della natura e che amplificano l’ ambiguità di lettura del cemento

“Senza titolo”( Attraverso il cemento, il poliuretano) by Andrea Sala
Una scultura apparentemente composta da due parti.
Due materiali , cemento e poliuretano espanso, trovano un punto di incontro.
Una parte e’ ruvida, realizzata con un calco da uno scavo nella terra,
l’altra liscia, modellata togliendo materiale.
Insieme creano un'atmosfera.
Un'atmosfera simile a quella che si respirava nello studio di Brancusi dove, il fruitore e gli oggetti che lo circondavano, diventavano compagni di vita

Galleria Luisa Delle Piane
Via Giuseppe Giusti 24
20154 Milano – Italy
tel./fax 02/3319680

e-mail zetadipi@libero.it
www.gallerialuisadellepiane.it

Between:
Lebanon (Bcharre), Italy (Roccagloriosa), Czech Republic (Třebešice - Čáslav)
Project written by Katia Baraldi and curated by FRONT OF ART

First part Lebanon Bcharre 5 April 2013 ‐ 14 April 2013
Opening: Saturday and Sunday 13 at 3.30 pm and 14 of April 2013 at 11 am.
Meeting point : Bsharri Municipality, address Khalil Gibran Avenue, Bsharri
Free admission

Artists: Bianco Valente (Giovanna Bianco, Giuseppe Valente), Pascal Hachem e Rana Haddad

Special project: The cave of memories by Laure Keyrouz in collaboration with Andrea Stomeo, is a initiative realized with the support of the
DE.MO. / MOVIN'UP sess. 2012/ a cura / by MINISTERO PER I BENI E LE ATTIVITA’ CULTURALI. Direzione Generale per il paesaggio, le belle arti, l’architettura e l’arte contemporanee /Servizio architettura e arte contemporanee. Direzione Generale per lo spettacolo dal vivo. GAI ‐ Associazione per il Circuito dei Giovani Artisti Italiani.

The project is realized in collaboration with the Assessorato alle Politiche Giovanili e Pace del Comune di Venezia (Department of Youth and Peace of the City of Venice), in the context of international cooperation projects.

The 5 April 2013, in Bcharre in Lebanon opens the first phase of the project PUBLIC

SPACES = A PLACE FOR ACTION, a project by Katia Baraldi and curated by Front of Art in collaboration with the institution of the Municipality of Bcharre, Lebanon and two important international associations: Future project, Czech Republic and Farnespazio, Italy. The happening will last until 14th of April.

PUBLIC SPACES = A PLACE FOR ACTION is a project in several stages with different methods of action aiming to investigate the possibility of small towns to create culture and innovation of the society. It's been thought to activate a series of comparative reflections by the help of artists and intellectuals regarding the concepts of "common good" and "public space." This survey focuses on the differences of definition, perception and use of the term public space, here understood in a deliberately broad sense, including squares, streets, historic buildings, all places, such as bars, clubs, markets etc, creators of relationships between people without excluding the virtual public places.

Blog’s project: http://aplaceforaction.frontofart.org/
For information: info@frontofart.org http://www.frontofart.org
Phone: 00961-76449364

ARIMORTIS
A cura di Roberto Cuoghi e Milovan Farronato

Museo del Novecento, via Marconi 1, Milano

Promosso da
Comune di Milano

Opening 4 aprile 2013
Exhibition 5 aprile - 8 settembre 2013

Nell’ambito della collaborazione tra il Museo del Novecento e DOCVA (Documentation Center for Visual Arts), la Sala Archivi “Ettore e Claudia Gian Ferrari” ospita la mostra Arimortis, in occasione della quale Milovan Farronato per Viafarini ha invitato l’artista Roberto Cuoghi a proporre una lettura personale dei materiali dell’Archivio, a compimento del suo impegno dal 2006 al 2012 presso il DOCVA.

Arimortis è la richiesta di una pausa. Ci si riallaccia le stringhe allentate delle scarpe sospendendo temporaneamente il gioco. Il termine che dà il titolo alla mostra - spesso abbreviato in “arimo” - è infatti usato convenzionalmente tra i bambini durante il gioco, per chiederne una sospensione. Nelle vetrine della Sala Archivi del Museo del Novecento la pausa consente “un’intricata, inusuale e suggestiva catalogazione di dati: le opere convivono con gli oggetti d’affezione, i “memorabilia” con i tentativi faticosi - talvolta persino drammatici - di esternare le proprie intime risposte emotive”.

Viafarini DOCVA dal 1991 raccoglie senza filtri i materiali degli artisti italiani - o residenti in Italia - che hanno manifestato un intento professionale o in altri casi quasi compulsivo. Per la mostra - dopo aver visionato integralmente i materiali raccolti in quasi 4.000 portfolio archiviati presso la Fabbrica del Vapore - sono stati avviati, laddove possibile, dialoghi individuali con ciascuno degli artisti coinvolti allo scopo di capire come l’universo ossessivo della loro ricerca potesse “esplodere sotto vetro”. I curatori hanno attinto a queste prospettive: non un hortus siccus, ma fragranze caratterizzanti germogliate in seno all’Archivio.

Per Arimortis non sempre sono state scelte opere da esporre, talvolta sono stati avviati progetti in collaborazione con altri specialisti, come nel caso dell’artista siberiana Olga Schigal che partecipa alla mostra aderendo e complicando il progetto Madrelingua del musicista Saverio Lanza, o della pittrice Lorenza Boisi che interpreta gli esiti di un percorso di regressione personale accompagnato dall’ipnotista Felice Perussia. Vera Morra e Katthy Cavaliere - prematuramente scomparse - sono presenti attraverso la rievocazioni di altre due artiste, rispettivamente Chiara Fumai e Sabrina Sabato. Sissi collabora con se stessa: Daniela Olivieri. In mostra anche le dissolvenze incrociate di Gino Lucente e l’allegorico funerale in papier maché di Luigi D’Eugenio; le anamorfosi di Francesco Mannarini e il pellegrinaggio di Giorgio Andreotta Calò; la vita ritirata di Christian Tripodina e i fragili equilibri di Manuel Scano; le confessioni di Betty Bee e gli abiti nuziali di Paola Pivi e Karma Lama; i crocefissi di Cecile Genovese e l’armatura di Carlo Gabriele Tribbioli; i ricami di Maria Stella Tiberio con il marito Michele Napoli e i residui della vita troppo complicata di Giona Bernardi.

“Le opere esposte in mostra rappresentano un mondo intenzionalmente pulsionale che forza i sigilli delle algide bacheche in corian bianco e cristallo progettate da Italo Rota: oltre la finitezza e la perfetta funzionalità un vortice di “vetrofanie” fuori scala e fuori misura che vira le prospettive di valutazione artistica per la durata dell’esposizione”. Si manifesta così la presunzione paradossale di costringere smisuratezze sotto teca, di confinare attitudini pulsionali senza visione d’insieme né progettualità.

Accompagna la mostra un approfondimento monografico che intende riflettere sul valore e il contenuto della smisuratezza. La pubblicazione, edita da Mousse e prodotta da Fiorucci Art Trust, raccoglie le riflessioni di Massimo Carboni, Roberto Cuoghi, Michele Ernandes, Gian Antonio Gilli, Luciano Manicardi, Luca Scarlini e Pier Paolo Tamburelli.

Museo del Novecento
Piazza del Duomo
20123, Milano
Tel. +39 02 88444061/ 02 43353522
http://www.museodelnovecento.org

lunedì 14.30 – 19.30
martedì, mercoledì, venerdì e domenica 9.30 – 19.30
giovedì e sabato 9.30 – 22.30

Visite guidate
Civita. Info e prenotazioni 02.43353522
museodelnovecento@civita.it

Main Sponsor
Bank of America Merrill Lynch
Finmeccanica

Museo de Arte del Banco de la República de Colombia.
23 March - 24 June 2013

Curated by Rodrigo Quijano

Artists:

Armando Andrade Tudela, Fernando Bedoya, Juan Enrique Bedoya,  Luz María Bedoya, Fernando Bryce, William Cordova, Martín Chambi, Raimond Chaves,  Milagros de la Torre, Carlos Domínguez, Jorge Eduardo Eielson, E.P.S. Huayco, Flavia Gandolfo, Gastón Garreaud, Philippe Gruenberg, Pablo Hare, Emilio Hernández Saavedra, Gilda Mantilla, José Carlos Martinat, Claudia Martínez Garay, Alfredo Márquez, Enrique Mayorga, Marco Pando, Paréntesis, Ishmael Randall Weeks, Augusto Rebagliati, Jesús Ruiz Durand, Juan Javier Salazar, Herman Schwarz, TAFOS, Taller NN, Susana Torres, Eduardo Villanes, Ricardo Wiesse y David Zink Yi

Arte al paso. Colección contemporánea del Museo de Arte de Lima – MALI es una exposición itinerante que reúne una selección de obras (incluyendo pintura, grabado, fotografía, video e instalación) producidas en nuestro país desde la década de 1960 hasta hoy y que se preservan en el acervo del museo. La colección de arte contemporáneo del MALI abarca un amplio panorama de práctica artística en el Perú y se considera uno de los repositorios más representativos de su clase en la región.
Arte al paso ha sido concebida como una muestra itinerante que forma parte de la iniciativa del MALI para promover el arte peruano a nivel internacional, así como fortalecer redes de intercambio dentro de América Latina.
Luego de su primera presentación en la Estação Pinacoteca de São Paulo (2011), bajo la curaduría de Tatiana Cuevas y Rodrigo Quijano; la muestra será recibida este año por el MUSEO DE ARTE DEL BANCO de la República de Colombia, para ser presentada del 23 de marzo al 24 de junio.
En esta oportunidad, la curaduría de Rodrigo Quijano modifica la selección original para ser adaptada a la sala bogotense, incluyendo entre las más de cincuentas piezas algunas de las adquisiciones más recientes, incorporadas a través del Comité de Adquisiciones de Arte Contemporáneo (CAAC) del MALI.

Museo de Arte del Banco de la República de Colombia.
Calle 11 # 4-41, Bogotá, Cundinamarca, Colombia
Tel: 0057 1 3431212
Hours: Monday –Saturday 9:00 am. a 7:00 p.m
Sunday-non-working day 10:00 a.m. a 5:00 p.m.
close on Tuesday

http://www.banrepcultural.org

En Obras
Group Exhibition with:

Ishmael Randall Weeks
Arturo Hernández Alcázar
Marlon de Azambuja

From 22 March to 30 April

Galerìa Nuble

Calle de Daoíz y Velarde, 26, 39003
Santander
Cantabria, Spain

http://www.galerianuble.com/

TRIESTE, ORGANIZED BY JAY HEIKES – MARIANNE BOESKY GALERY, NEW YORK, NY

Opening reception Friday, March 1, 2013 from 6 to 8pm

Exhibition March 2 - March 30, 2013

Marianne Boesky Gallery is pleased to present Trieste with new works exclusively created for the exhibition by Jay Heikes, Jessica Jackson Hutchins, Matthew Day Jackson, Karthik Pandian, Lisa Lapinski and Erin Shirreff. This is the second installment of a show that originated at Federica Schiavo Gallery, Rome in 2012.

Trieste is the name of the Italian-built deep-diving bathyscaphe, which in 1960 reached a record maximum depth with a crew of two people (Swiss engineer Jacques Piccard & US Navy Captain Don Walsh) in the deepest known part of the Earth’s oceans known as the Mariana Trench. Their journey took nearly five hours and while only eating chocolate bars and bearing no cameras, they found themselves with a cracked window from the immense pressure and surrounded by a murkiness they had stirred up during their landing. Staying only twenty minutes, they returned to the surface with nothing but a story. Their voyage was recently repeated in 2012 by director James Cameron in a much more documentarian manner. Trieste is also the small port city on the Adriatic in the north of Italy that borders Slovenia, known for its moodiness and changeability. The group exhibition metaphorically takes inspiration from these two “borderline” states and addresses ideas of the unknown and the impossible.

Jay Heikes, who had a leading role in organizing the show, says:

“I can see in all of us a desire to harness the power of everything that has moved through our minds into our works. Through them I can see a grappling with history and culture, a nod or something like an elaboration of the less traveled dead ends that have been lost. I think ‘explorers’ is a goofy word but perfect for all of us who leave ourselves open to explore those spaces as the only places where the possibilities lie. In Matthew’s work I have always found the condensation of historical objects to be both severe and disorienting. As if history was visible like a mountain range, only to realize our eyes are not strong enough to see more than an hour away. In Erin’s work the severity is taken to another level where the formal gaps are not time machines but parameters of claim. Spaces where language appears obsolete but is constant and constantly mutating in order to describe itself. The tools and ‘relics’ of a culture may be as malleable as the materials that made them and Jessica is always aware of the objects that are not only framing us as figures in a space but as messy minds trying to categorize ‘things’. I think that is why her work appears to be a collision of domesticity and surrealism. Like daydreaming the wildest daydream while waiting for your toast to pop up. Then there’s Karthik and I who are both dedicated to forms of research trying to connect the links that history has naturally worked to splinter. Lisa’s work, which was not included in the first version of Trieste seems like a necessary foil for the way we look at history ‘seriously’ and how that approach might in itself be lacking a kind of humanity, as if suddenly realizing cultures of the past were just like us, full of irony, deception and bad jokes. This is why my interest in the double, maybe triple meaning of Trieste is so great, because really it becomes an idea of a place or a space. In 2013 it would be foolish to think that a group of artists would mimic the method of movements a hundred years prior, but I feel so connected to these artists and their approach. My desire to bring them together under one roof is in itself a proclamation of kinship. So with any group show it is impossible to declare what the show will be doing but more about setting up an environment for something special to happen. This is Trieste.”

For further information regarding Trieste or images of the works, please contact Adrian Turner at 212.680.9889 or adrian@marianneboeskygallery.com.

Jay Heikes is known for his heterogeneous practice. His work explores the artistic processes of evolution and regeneration as well as themes of stasis, corrosion, texture, and alchemy. In both nature and culture, Heikes is interested in the idea of life cycles and the notion that mutation and change are essential elements of the creative process. Recently, Heikes has been researching the history of avant-garde language and making connections between tools of everyday function, images of abstraction and shamanistic belief systems in order to formulate his own periodic table for the 21st century. Jay Heikes is represented by Marianne Boesky Gallery, New York, Federica Schiavo Gallery, Rome and Shane Campbell Gallery, Chicago.

Jessica Jackson Hutchins’ mixed media sculptures, ceramics, prints and works on paper are a curious combination of physical gusto tempered by great fragility. Her works act as containers for a wide range of themes – popular and personal, sad and humorous, but always grounded in the messy business of human relationships. Her understanding of collage aesthetics infuses her abstract objects in varying scales, as when she nestles awkward glazed vessels on worn readymade armchairs, couches, and tables, or props them up on lumpen or lean plinths of her own devising. The human body is referenced repeatedly, in all of its dumb charm and joyful habits. Hutchins is consistently able to transform data from daily life into shapes and images that can yield an intimate urgency. Jessica Jackson Hutchins is represented by Laurel Gitlen, New York.

Matthew Day Jackson’s art grapples with ideas such as the evolution of human thought, the fatal attraction of the frontier and the faith man places in technological advancement. His work particularly addresses the myth of the American Dream, exploring the forces of creation, growth, transcendence and death through visions of its failed utopia. Recent work expands on these underlying ideas inherent in the American mythology and focuses on the plurality of this mythology pointing to its existence outside American Culture. Jackson depicts these using the world around him. The diverse materials resonate with symbolism, combining apocalyptic elements with the fruits of new technologies, historical imagery with contemporary ingredients. In his art, ideas are granted physical form and it is in the clash between the two, in the material impact of idealist thought, that it derives its force. His work explores a concept that he terms “the Horriful”, the belief that everything one does has the potential to bring both beauty and horror. Matthew Day Jackson is represented by Hauser & Wirth, New York, London and Zürich and Grimm Gallery, Amsterdam.

Lisa Lapinski delves into the history of symbols and place with the deadpan approach of a decorative anthropologist. Utilizing sculptural installation, photography and collage as her various mediums to present her findings, Lapinski is constantly revealing where the hilarious and mundane are located within cultural semiotic overlaps. Her collapse of old world/new world techniques and gestures leaves us with a collage of the future which often ends up being just a more confused present in which the viewer is left to contemplate modernist juxtapositions that echo her native Los Angeles. Currently her interests lie in the uncanny meeting of materials like tobacco, Plexiglass, wallpaper and Hydrocal. While drawing inspiration from manufacturing in North Carolina and children’s toys from Austria, Lapinski has imagined her own cross- cultural formalism. Lisa Lapinski is represented by Richard Telles Fine Art, Los Angeles and Johann König, Berlin.

Karthik Pandian’s practice seeks to unsettle the contradictions at the heart of the monument. The universal and contingent, sacred and profane, proximate and distant confront one another in his work. Concerned in particular with the way in which history lurks in matter, Pandian often uses 16mm film to excavate sites for fragments of political intensity. The sculptural works that support, enshroud and sometimes obscure his film projections are produced from materials drawn from his research and often assume the form of architectural constructions. Through moving image, sculpture and syntheses of the two, his work imagines freedom in relation to the impositions of architecture. Karthik Pandian is represented by Vilma Gold, London and Rhona Hoffman Gallery, Chicago.

Trained as a sculptor, Erin Shirreff works in multiple media, including photography and video, and her work suggests evocations as diverse as the archeological cataloging of ancient tools, the observation of planets through telescopic devices, and the hulking presence of minimalist sculpture in the landscape. Her sculptures trade on what is absent. Silhouettes of abstract, geometric forms and two-dimensional shapes hover in a temporally ambiguous zone, appearing both made and found. The effectiveness of Shirreff’s conceptual concerns hinges on her selection of subjects that are familiar to the point of becoming enigmatic, leaving us to grapple with how meaning is created in an anonymous visual landscape. Erin Shirreff is represented by Lisa Cooley, New York.

MARIANNE BOESKY GALLERY

509 West 24th Street, New York, NY 10011

t. 212-680-9889   f. 212-680-9897

http://www.marianneboeskygallery.com

23 Marzo – 12 Maggio 2013

Fondazione Bevilacqua La Masa

Piazza San Marco, Venezia

Il Premio è giunto alla sua terza edizione e da quest'anno viene organizzato in collaborazione con la prestigiosa Fondazione Bevilacqua La Masa di Venezia, nella sua sede di Piazza San Marco, dal 23 marzo al 12 maggio 2013.

Il Premio MOROSO per l'Arte Contemporanea nasce con l'obiettivo di fornire delle opportunità concrete per gli artisti emergenti e mid career che hanno scelto di lavorare in Italia. Intende valorizzare il rapporto tra la nuova scena nelle arti visive e un più vasto contesto creativo, in relazione con l'ambiente abitato, l'attitudine al fare e l'esperienza del vivere contemporaneo.

Le sue modalità operative sono divise in tre momenti:

- una fase conoscitiva, nella quale un comitato scientifico evidenzia 36 artisti e si realizza un catalogo complessivo. Una prima giuria enuclea 12 selezionati;
- un momento espositivo in cui una seconda e diversa giuria valuta i progetti presentati e individua 3 vincitori;
- la realizzazione da parte di questi ultimi di tre opere ambientali e site-specific, negli showroom delle sedi MOROSO a New York, Londra e Milano.

Il progetto, strutturato fra premio, mostra e pubblicazione, vuole costituirsi quale cantiere concreto di produzione e promozione, conferendo maggiore visibilità anche internazionale ad autori emergenti e mid-career.

Gli artisti selezionati quest'anno sono:

Alek O. (Buenos Aires, 1981)
Salvatore Arancio (Catania, 1974)
Davide Balliano (Torino, 1983) Sergio Breviario (Bergamo, 1974)
Linda Fregni Nagler (Stoccolma, 1976)
Giulio Frigo (Arzignano, 1984)
Paolo Gonzato (Milano, 1976)
Nicola Martini (Firenze, 1984)
Alessandro Piangiamore (Enna, 1976)
Andrea Sala (Como, 1976)
Luca Trevisani (Verona, 1979)
Nico Vascellari (Vittorio Veneto, 1976)

La giuria della prima selezione 2013, che ha portato da 36 a 12 i partecipanti, è stata composta da:
Andrea Bruciati, curatore indipendente, ideatore del progetto; Olafur Eliasson (1967), artista, creatore di progetti dal grande appeal sensoriale come il celebre Sole del Weather Project alla Turbine Hall di Londra e, non da ultimo, del progetto Little Sun, recentemente presentato alla Biennale di Architettura di Venezia; Patrizia Moroso, art director e anima dell'azienda Moroso. Quest'ultima è nota per la sua coraggiosa presenza nel mondo del design, avendo saputo sviluppare l'attitudine alla produzione di sedute tipica del distretto di Udine in una direzione di ricerca e rilettura concettuale dell'idea stessa di mobile. Questo indirizzo ha tratto spunto anche dalle frequenti relazioni con il mondo dell'arte, grazie alla collaborazione attiva con realtà sperimentali quali il Palais de Tokyo e il Grand Palais a Parigi, la Biennale di Venezia e il MoMA di New York.
La giuria della seconda selezione, che designa i tre vincitori, è composta da protagonisti delle arti visive e del design: Giulio Cappellini (art director della Cappellini), Lorenzo Fluxà (proprietario della Camper), Greg Lynn (architetto), Ross Lovegrove (designer) e Angela Vettese (Presidente Fondazione Bevilacqua La Masa).

Fondazione Bevilaqua La Masa

Galleria di Piazza San Marco 71/c

Venezia

http://www.bevilacqualamasa.it

Salvatore Arancio
Alternating Layers of Contrasting Resistance

1 March – 6 April 2013

ROWING
Unit F, 449 Holloway Road
London N7 6LJ - UK
+44 (0)75 4093 4636

Thursday to Saturday
12–6pm and by appointment

rowingprojects.com

SALVATORE ARANCIO - RELATIVELY ABSOLUTE - GROUP SHOW AT WYSING ARTS CENTER, CAMBRIDGE

10 February – 24 March 2013

Relatively Absolute brings together new works made by artists who were in-residence at Wysing during 2012, as well as material that has informed its making, to explore how visible and implied structures might be used to uncover meaning, narrative and paradox.

The exhibition includes new artwork, performance and talks by artists Salvatore Arancio, Ed Atkins, Jonathan Baldock, Edwin Burdis, Nicolas Deshayes, Jess Flood-Paddock, Emma Hart, Nilsson Pflugfelder, Flora Parrott, Philomene Pirecki, and Elizabeth Price, Stuart Whipps, musician Luke Abbott and writer Patrick Coyle.

Amongst the new works performed or exhibited, each artist has been invited to contribute source material that has informed its production. These objects, artworks, talks and texts are presented amongst the finished pieces but not attributed to the artist whose work it has influenced.In the system of associations between artworks and research it is up to the intuition of the audience to question the possible relationships, affects and encounters between the artwork and in the production of the work.

Through proximity, the real and imagined connections created in the mind of the viewer explore how intuitive structures and systems might be used to uncover meaning.

http://www.wysingartscentre.org/whats_on/exhibitions/relatively_absolute

If I was John Armleder (what curators are not supposed to do)

Opening 30 January 2013

Exhibition 31 January – 03 February 2013

Artgeneve Salon International d’Art

Palexpo S.A.

case postale 112

1218 Le Grand-Saconnex

Genève - Suisse

tel. +41 22 761 11 11

fax. +41 22 798 01 00

email info@artgeneve13.ch

http://artgeneve13.ch/

Setsuko Hara is an exhibition named after the Japanese actress most know for her role in Yasujiro Ozu’s Tokyo Story, who in 1963 retired from acting and who has since lived a reclusive life in the city of Kamakura. The exhibition brings together work by artists from the U.K, Norway, Italy, China and Japan as a collection of thoughts around this character and the mystery of her withdrawal from public life almost 50 years ago.

A book Setsuko Hara has been produced by Richard Bevan and Tamsin Clark and published by The Block to accompany the exhibition.

Put together by Richard Bevan.

Oriel Sycharth Gallery Glyndwr University

Opening times: Mon - Fri 9am -4pm

Mold Road
Wrexham LL11 2AW
United Kingdom
www.glyndwr.ac.uk

Tommy Hartung

Jay Heikes

Alfred Leslie

Luther Price

Brie Ruais

Ryan Sullivan

Exhibition curated by Clarissa Dalrymple

Opening 17 January, 6 - 9 PM

Exhibition 18 January – 9 February 2013

Xavier Hufkens

Sint-Jorisstraat 6-8 Rue Saint-Georges

Brussel BE-1050 Bruxelles

T +32 (0)2 639 67 30

F +32 (0)2 639 67 38

Open Tuesday to Saturday,

11 am to 6 pm

http://www.xavierhufkens.com

17 January – 13 March 2013

Peruvian born, New York-based artist Ishmael Randall Weeks will present a meditation on recent Peruvian history in the form of a double slide projection using found slides that the artist burns, punctures, cuts, and draws upon. This is the first time that Randall Weeks has worked in this format and it represents an extension of his drawing practice as well as of his installations using recycled materials. As the slides go in and out of focus and his intervention ranges from minimal to extreme, Randall Weeks develops a personalized narrative response to the politically and socially charged moment of 1970s–80s Peru—among the most violent periods in recent history. In form and content, his project directly references seminal artistic interventions from the 1970s such as the work of Brazilian artist Hélio Oiticica and the Tropicalia movement. In this way, Randall Weeks pays tribute to Latin America’s radical artistic past and raises awareness for the future. The exhibition is curated by Claire Gilman, Curator.

For further information: www.drawingcenter.org

10 JANUARY - 10 FEBRUARY 2013
OPENING RECEPTIONS, 10 JANUARY 10, H 6 - 8 PM

ELEVEN RIVINGTON
195 CHRYSTIE STREET, NEW YORK, NY

Eleven Rivington is delighted to present Ishmael Randall Weeks’s second exhibition with the gallery, titled ‘Quoin’. The show will feature new collages and works on paper, objects and sculpture, and a 16mm film in the gallery’s project room. Peruvian-born Randall Weeks has been seen at MoMA PS1’s Greater New York; the MACRO Museum in Rome (solo); and the 10th Havana Biennial, among others. His exhibition at Eleven Rivington coincides with a solo project at The Drawing Center, NY, on view from January 17 – March 13, 2013.

Randall Weeks is known for his use of found and re-purposed materials including tires, boat parts, construction fragments, magazines, books and printed pages for his installations and sculptures. The discarded materials both retain a hint of their original form, while the craft of redefining the known object transcends its original identity, imbuing a different denotation. Explorations of found material and alteration are closely intertwined in his new 16mm film projection, featured in this exhibition, and in his 35mm slide projections, shown at The Drawing Center. In these works, Randall Weeks intuitively responds to images on found film by manipulating, painting, and cutting. His work probes issues of urbanization, development, travel, mobility and migration. He also explores the social and political changes in Peru and Latin America that occurred over the last 50 years, which are historicized in mechanically produced images -books, magazines, vintage photographs and film.

For furher information: www.elevenrivington.com

La giuria della terza edizione del Premio Moroso composta da Patrizia Moroso, art director di Moroso, Angela Vettese e Andrea Bruciati, ideatore del Premio ha selezionato i seguenti artisti:

Alec O., Linda Fregni Nagler, Alessandro Piangiamore, Andrea Sala, Giulio Frigo, Salvatore Arancio, Davide Balliano, Paolo Gonzato, Luca Trevisani, Nico Vascellari, Nicola Martini e Sergio Breviario.

Rispetto alle scorse edizioni del Premio, i 12 artisti selezionati quest’anno parteciperanno alla mostra ospitata alla Fondazione Bevilacqua la Masa (sede San Marco) dal 23 marzo agli inizi di maggio. Moroso sarà presente anche a MiArt con uno spazio dedicato al design e con una sezione speciale dedicata alle opere degli artisti selezionati.

http://www.moroso.it

November 12 2012 – February 15 2013

http://sundaymorning.ekwc.nl/

VINCITORE DEL PREMIO LO SCHERMO DELL’ARTE FILM FESTIVAL 2012

È IL PROGETTO TRILOGIA DELLO SPOSO DIVINO (TITOLO PROVVISORIO)

DI CARLO GABRIELE TRIBBIÒLI IN COLLABORAZIONE CON GIACOMO SPONZILLI E GABRIELE SILLI

La giuria del Premio Lo schermo dell’arte Film Festival 2012, composta da Barbara Casavecchia, Andrea Lissoni e Silvia Lucchesi, ha deciso di premiare all’unanimità il progetto Trilogia dello Sposo Divino (titolo provvisorio) di Carlo Gabriele Tribbiòli per la capacità dimostrata dall'artista di articolare un progetto complesso che, iniziato nel 2009, ha accumulato fino ad oggi più di 70 ore di materiale girato. Il finanziamento rappresentato dal Premio risulta in questo modo un aiuto concreto ed evidente alla fase di finalizzazione di un lavoro in corso da anni.

Il progetto, in coerenza con il bagaglio di esperienze dell'artista, appare segnato da una forte soggettività e contraddistinto da inusuale originalità e versatilità nell'attraversare differenti registri.

Trilogia fa riferimento ad un mondo personale indubbiamente stratificato che dimostra grande capacità di riconoscere e di manipolare varie fonti e, al tempo stesso, piena consapevolezza del linguaggio video e cinematografico.

Si è inoltre ritenuto di particolare interesse il tema del film: il ritratto metaforico di tre città Rotterdam, Tokyo e Fès che sono l'elemento visivo da cui originano tre episodi indipendenti ma connessi fra loro da richiami e citazioni. Questi vengono costruiti intrecciando elementi di finzione e materiali documentari con riprese di paesaggi e di vita quotidiana, nei quali la narrazione è determinata non tanto dalla scrittura di un copione ma da condizioni sia occasionali che provocate e agite.

ODEON FIRENZE

Piazza Strozzi, 1

Mail: info@schermodellarte.org

Facebook: Lo schermo dell’arte

http://www.schermodellarte.org

http://www.international-recollets-paris.org/?lng=en

THE GIULIANA AND TOMMASO SETARI COLLECTION, BEHIND CLOSED DOORS AGAIN

at la maison rouge, October 20th 2012 - January 13th 2013

press preview Friday October 19th 2012, 9.30am – 11.30am

preview Friday October 19th 2012, 6pm – 9pm

LE ASSOCIAZIONI LIBERE (FREE ASSOCIATIONS) A PROJECT BY THE DENA FOUNDATION FOR CONTEMPORARY ART

Within a space inside la maison rouge, surrounded by the exhibition of the Setari collection, the Dena Foundation for Contemporary Art asked Chiara Parisi and Nicola Setari to propose a presentation of the Italian art scene today. Italy's contemporary art scene is rebellious and unpredictable. Attitudes are remarkable, powerful, but also astonishingly radical and poetic.

A "national" approach could not convey its full diversity, hence Le associazioni libere takes a different angle. It invites independent, artist-led structures and reviews to show this diversity and alternative projects happening alongside or concomitant to Italian public and private initiatives, and to present their idea of what art can be in a non-institutional context.

With artistic coordination by Francesca di Nardo, this project shows one aspect of Italian contemporary creation, seen through some of the alternative vectors set up over recent years, and through multiple and ambitious editorial slants: as many representations of curatorial and artistic practices spread throughout the country.

All these initiatives - with their various ideological and political frameworks, often pursuing very different strategies to survive, some digital, some in print - stand out as a possible heritage left to society by Arte Povera, a movement that reawakened our sensibility by expanding the artistic sphere and practices.

Lucie Fontaine in Milan, Cripta 747 which started out in Turin, and Cherimus in Sardinia are just three of these artist-run alternative venues. Among the reviews, Mousse and Kaleidoscope in Milan, Cura, Nero and Artribune in Rome are examples of the intellectual and editorial outpouring behind this renewal. Thanks to an international connection and unfailing solidarity, Italian artists worldwide who identify with these reviews and structures are demonstrating amazing vitality.

Established in 2001 by Giuliana Carusi Setari, from its offices in Paris and New York, the Dena Foundation for Contemporary Art promotes and develops synergy for Italian artists. Alongside the presentation of the Setari collection, the project at la maison rouge celebrates the inventiveness and creativity with which Italian art expresses its response to all forms of crisis, whether political, ideological, intellectual or indeed artistic.

Curated in close consultation with the structures, reviews and in particular artists Diego Perrone and Christian Frosi, who based their design for the exhibition on their first-hand experience of these systems, the project shows recent works and special commissions.

Francesca di Nardo, Chiara Parisi, Nicola Setari

FREE ASSOCIATIONS

Anonima Nuotatori, Vincenzo Schillaci e Giuseppe Buzzotta, Artribune, Massimo Grimaldi, Cherimus, Marco Colombaioni, Codalunga, Nico Vascellari, Cripta 747, Mauro Vignando, Cura., Ian Tweedy, Gasconade, Andrea Romano, GiuseppeFrau Gallery, Eleonora Di Marino, Kaleidoscope, Andrea Sala e Tommaso Garner, Le Dictateur, Federico Pepe, Lucie Fontaine, Daniella Isamit Morales, Mousse, Yuri Ancarani, Nero, Nicola Pecoraro.

Press relations

Claudine Colin Communication

Julie Martinez

28 rue de Sévigné – 75004 Paris

julie@claudinecolin.com

t : +33 (0)1 42 72 60 01

f : +33 (0)1 42 72 50 23

la maison rouge

fondation antoine de galbert

10 bd de la bastille – 75012 Paris

www.lamaisonrouge.org

info@lamaisonrouge.org

t : +33 (0)1 40 01 08 81

f : +33 (0)1 40 01 08 83

http://www.lamaisonrouge.org/IMG/pdf/Press_kit_collection_Giuliana_et_Tommaso_Setari_0.4.pdf

OTTAVA GIORNATA DEL CONTEMPORANEO E LA NOTTE DEI MUSEI AL MAXXI

sabato 6 ottobre 2012

ingresso libero dalle 11:00 del mattino alle 2:00 di notte

Roma 4 ottobre 2012. Una nuova mostra, la presentazione di un video su una performance al MAXXI, un laboratorio per bambini e famiglie nella piazza del museo e, last but not least, ingresso libero al museo dalle 11:00 di mattina alle 2:00 di notte (ultimo ingresso consentito alle ore 1:00).

E’ questa l’offerta del MAXXI per il prossimo sabato 6 ottobre, in occasione della coincidenza tra l’Ottava Giornata del Contemporaneo organizzata da AMACI e La Notte dei Musei.

In questa occasione, con il riallestimento della collezione ‘A proposito di Marisa Merz’, verranno esposte delle opere di Andrea Sala

Ufficio stampa MAXXI +39 06 3225178,

press@fondazionemaxxi.it

www.fondazionemaxxi.it

MUSEO CARLO ZAULI RESIDENZA D'ARTISTA

workshop di ceramica nell'arte contemporanea anno 2012 - IX edizione

6 ottobre - 5 novembre 2012

ore 19.00 dal Museo Carlo Zauli a luoghi vari

Via Croce 6 – Faenza

SALVATORE ARANCIO a cura di Guido Molinari

DANIEL SILVER a cura di Marco Tagliafierro

CHRISTIAN FROSI e DIEGO PERRONE in collaborazione con CNR - Istituto di Scienza e Tecnologia dei Materiali Ceramici

GIOVANNI GIARETTA in collaborazione con Fondazione Bevilacqua La Masa

DAVIDE VALENTI premio speciale Artelaguna 2011

con il sostegno di:

Comune di Faenza

Regione Emilia Romagna

Banca di Romagna

Coop. Ceramica Imola

Coop Adriatica

in collaborazione con:

Fondazione Bevilacqua La Masa Venezia

Premio Artelaguna Venezia

CNR - Istituto di Scienza e Tecnologia dei Materiali Ceramici - Faenza

con studenti provenienti da:

Accademia Belle Arti Bologna

Accademia Belle Arti Venezia

Accademia S. Giulia di Brescia

ISIA Faenza

Istituto Ballardini Faenza

Il Museo Carlo Zauli è lieto di annunciare la nuova mostra dei lavori in ceramica prodotti all'interno dei nostri laboratori nell'ambito del progetto Residenza d'Artista nel biennio 2011/12, mostra che inaugurerà il 5 ottobre prossimo in luoghi inediti della città.

Attraverso questa formula di residenza Matteo Zauli, direttore del museo, ha riprogettato il laboratorio che fu di suo padre, ricreando, con strumenti attuali, la vitalità e l’incontro tra artisti che ne avevano caratterizzato l'atmosfera sin dal 1949.

Il laboratorio di Carlo Zauli torna così a essere un punto di ricerca nell'ambito del contemporaneo, e di unione di grandi artisti con il nostro territorio.

Attraverso l'invito a utilizzare la ceramica con uno spirito totalmente inedito, quello di un'artista che non l'ha mai utilizzata e non ne conosce i limiti, si viene spinti in continui esperimenti dagli esiti molto spesso sorprendenti.

Il risultato di questi ultimi due anni di lavoro è una mostra che presenta cinque artisti con diversissimi percorsi artistici e approcci espressivi (video, fotografia, scultura, performance) accomunati dall'incontro con un luogo e dalla sperimentazione con il mezzo ceramico, che nessuno di loro utilizza abitualmente.

La mostra, che  si svolgerà come sempre in luoghi inediti della città, ancora in definizione,  è inserita nella settimana italiana del contemporaneo promossa da Amaci, e nell'ambito del cartellone faentino Kart, dedicato all'arte contemporanea.

La mostra verrà accompagnata da una pubblicazione, che raccoglie le testimonianze per ognuno dei workshop.

Dal 2003 il Museo Carlo Zauli porta avanti il progetto Residenza d'Artista che prevede l'incontro fra un'artista, scelto da un curatore, la città di Faenza e il materiale ceramico. L'artista, con la supervisione di un tutor ceramista e di un gruppo di studenti del territorio e delle migliori accademie d'Italia, avvia un percorso che termina con la produzione di lavori, percorso ogni volta diverso, che rende ogni residenza un evento unico. Uno dei pezzi prodotti in residenza entra in collezione al museo, contribuendo a lasciare un tangibile segno del lavoro in città, mentre l'altro, di proprietà dell'artista, diventerà mezzo di diffusione del nostro lavoro nel mondo dell'arte contemporanea. La partecipazione degli studenti al processo creativo e di realizzazione, coinvolti molte volte essi stessi a ideare e creare un loro pezzo in ceramica, porta avanti la forte attitudine didattica del museo. Periodicamente i lavori prodotti dal museo vengono presentati con una mostra e una pubblicazione.

Sono stati ospiti delle precedenti edizioni:

Bruno Peinado

a cura di Viola Emaldi

Sergia Avveduti, Pierpaolo Campanini, Gianni Caravaggio, David Casini, Alberto Garutti, Francesco Gennari, Piero Golia, Eva Marisaldi, Mathieu Mercier, Maurizio Mercuri, Marco Samorè, Luca Trevisani, Sislej Xhafa

a cura di Daniela Lotta

per informazioni

museocarlozauli@gmail.com

339 1544010

http://museocarlozauli.blogspot.it/2012/08/save-date-5-ottobre-2012.html

Opening: 5 October 2012 – 6 pm

Exhibition: 6 October 2012 – 13 January 2013

Casa Cavazzini

Via Savorgnana

33100 Udine

Via Savorgnana, 12

Tel. +39 0432 414717

puntoinforma@comune.udine.it

http://www.moroso.it

Rob Sherwood

The Warp & The Weft

29 September – 3 November 2012

Opening: 28 September 6pm to 8pm

Rob Sherwood’s exhibition ‘The Warp & the Weft’ presents a cycle of works which create unex­pected, sensory experiences out of systematic processes. These are often informed by abstrac­tions found or created whilst using digital media and communications: unnecessary disruptions in otherwise logical and functional environments. The installation involves painting, paper making, sound, video and photography: each media and process being defined by its unique but corre­sponding system and their different ways of reacting under the artist’s hand.

In Sherwood’s paintings the grid is the underlying structure. He is interested in its role in process­ing digital light: particularly the organisation of colour into separate entities and the illusion of their togetherness, as made evident by pixellation. The grid is apparent in both Screen No.1, a folding screen that follows a painted algorithmic pattern, and in a video work exploring the colour palettes on painting software.

Elsewhere a sound piece finds harmonies within the falterings of a streamed mp3 file, whilst a photo diptych forces images arbitrarily sourced from the internet into new relationships. Hanging on a panel is a piece of paper: handmade using the pulp of Japanese knotweed, an invasive plant known for its complex, rhizomatic root structures.

As with his grid paintings each of these works tampers with an apparently rigid system and finds creative space in a subjective interference. The suggestion is that models which appear strict or sterile can combine meaningfully with subjective fields of feeling, whether in the algorithms of the internet or those of a painted pattern.

ROB SHERWOOD (b. Bristol, 1984) is a London-based artist who studied at Chelsea College of Art, graduating in 2008. He exhibits in London with the Hannah Barry Gallery and in Rome with the Federica Schiavo Gallery. He has worked on exhibitions with the curator of ‘The Warp & The Weft’, Guy Robertson, director of Son Gallery, in both the UK and Italy. Recent exhibitions include ‘New Work’ 2011, Hannah Barry Gallery; Palazzo Collicola d’arte Visive, Spoleto, 2011; ‘Prosthet­ics: Painting & Photography’ 2010, Son Gallery; ‘Synthetic Symphonies’ 2010, Federica Schiavo Gallery.

NOTES For further information please contact Guy Robertson.

guy@songallery.co.uk / 0044 77354 59614

Son Gallery

Unit 9c 133 Copeland Road

SE15 3SN Pechkam, London

http://www.songallery.co.uk

MSM

Molinari, Sala, Munari

28 September 2012 – 30 December 2012

Curated by Meredith Carruthers

Exhibition featuring four sculptures by Italian artist Andrea Sala and presented together with a corpus of Guido Molinari and Bruno Munari. Organised by the Fondation Guido Molinari.

OPENING COCKTAIL

Fanfare Pourpour | Snacks | D.J.
Friday, September 28, 2012, at 7 pm

Free shuttle Montreal-Joliette-Montreal and
Berthierville-Joliette-Berthierville

with video presentation. + Details

Musée d’art de Joliette

145, rue du Père-Wilfrid-Corbeil

Joliette (Québec)  J6E 4T4

Telephone: 450 756-0311

Fax: 450 756-6511

E-mail: info@museejoliette.org

http://www.museejoliette.org

Salvatore Arancio, Untitled (Pavilion), 2009

Rencontres Internationales Paris/Berlin/Madrid

In Berlin, July 3-8, 2012

Tuesday July 3, 2012 at 7 pm
Haus der Kulturen der Welt,

John-Foster-Dulles-Allee 10, 10557 Berlin, Germany

For further information: Rencontres Internationales Paris/Berlin/Madrid

THE FIRST INTERNATIONAL CONTEMPORARY ART EXHIBITION AT THE NATIONAL MUSEUM OF CARTHAGE

12 May - 15 June 2012

Many things changed after spring 2011. Today, Tunisian society seems to culminate in a hunt for identity. The international exhibition CHKOUN AHNA will slow down this endeavour and offer an unhurried view on the current state of emergency.

The expression "chkoun ahna" comes from the Tunisian dialect written in Roman letters. It has two meanings; "about us" and "who are we?", it can be phrased as a statement or a question. All efforts to purify Tunisian heritage and sort out a homogeneous cultural identity are doomed to fail. Tunisian history was and still is a cross-cultural joint venture. There were Caspian and Berber civilizations, Phoenicians, Romans, Vandals, Arabs, Otto-man and the French. Discussion of Tunisian culture implies all these hybrid influences.

For this reason, the exhibition will raise the question as a statement powered by the media of contemporary art, such as installations, video and photo works, drawings, performances and interventions. Similar to the country's cross-cultural history, the invited artists hail from countries that have left historical traces in Carthage, in the more or less chronological order of Algeria, Lebanon, Italy, Germany, Iran, Saudi Arabia, Morocco, Spain, Turkey, and France.

CHKOUN AHNA will show recent and new artworks from Amina Menia, Kader Attia, Ziad Antar, Taysir Batniji, Lara Favaretto, Yousef Moscatello, Nicène Kossentini, Timo Nasseri, Ahmed Mater, Mustapha Akrim, Hala Elkoussy, Nida Sinnokrot, Pauline M'barek, Fakhri El Ghezal, Nadia Kaabi-Linke, Ayşe Erkmen, Ahmet Öğüt, Ismail Bahri, Félix Fernández, Zineb Sedira, Mouna Karray, Sirine Fattouh, Ali Tnani.

The exhibition is curated by Khadija Hamdi and Timo Kaabi-Linke.

www.carthagecontemporary.com

SALVATORE ARANCIO - THE COSMOS - GROUP SHOW AT WYSING ARTS CENTER, CAMBRIDGE

12 - 27 May 2012

Brought together for a six-week residency under the metaphor The Cosmos, and taking  exploring the past, origins and knowledge as a starting point, the artists Salvatore Arancio, Flora Parrott, Nilsson Pflugfelder and Stuart Whipps present a range of new work in the gallery and across Wysing’s site. Each artist has developed a distinct body of work in response to this residency, and through conversations with a range of local experts and enthusiasts in a programme of public events and informal meetings aimed at exploring  the huge concepts that constitute our understanding of The Cosmos. These new works explore, in some way, the manner in which we structure knowledge in science, spiritualism and in human culture more generally.

Salvatore Arancio has developed a series of works playing the visualisation of science and the merging of fact and myth in knowledge. Drawing on his interest in historic illustrations of geological discoveries, he is exhibiting a large screen-print of minute grains of a piece of granite, alongside a series of small collage works. A series of new works in clay, undergoing a period of drying before being fired, are shown in our ceramics studio, where they have been made.  Our recycled structure Amphis, 2008, is the location for the screening of a video made entirely from clips from the series The Cosmos by Carl Sagan with a new soundtrack by Arancio. The film encompasses imagery of theories from physics, the human body and built environments through history and has the visionary, almost psychedelic, low-fi appearance of a 1980s vision of the future.

The sculptural works developed by Flora Parrott during this residency and presented in the gallery, attempt to think through abstract concepts using manipulated organic materials including coal, silk and oyster shells. Three compositions of images and objects act as frameworks to understand three particular concepts: deep time and  compression, singularity and expansion and interconnectedness. Through research into the use of Mandalas, ancient tools for spiritual focus, Parrott has been exploring the physical and psychological filters that people instinctively put in place that allow us to define the limits of conscious thought and prevent constant contemplation of enormous, paralysing ideas. The works presented here could act as frameworks that interrupt or disrupts these filters to allow fluid thought.

The duo Nilsson Pflugfelder (Magnus Nilsson and Ralf Pflugfelder),  work  on projects situated on the intersection of critical spatial design, architecture, art and discourse. For The Cosmos they have proposed a large new outdoor structure to be situated in the grounds of Wysing. This 12 meter galvanised steel triangle will function as a contemporary folly-like space with no obvious function and no obvious entrance. Although the sculpture will have a minimal, futuristic feel, its proportions will reference ancient structures and the lack of obvious use for this slightly rarefied space may give it the feeling of a site of pilgrimage.

Stuart Whipps often takes overlooked narratives from recent history as the starting point for making films and images. During The Cosmos he has been researching the eccentric character of Edward James who used his personal wealth, power and influence to solidify and materialise his unconventional beliefs. Whipps will present a series of images taken in Las Pozas; James’ surrealist concrete garden (built from 1949 – 1984) set in the rainforest in Mexico. The images, projected medium format slides, show the casts used to make the concrete sculptures, the sculpture and its surrounding forest.

This year artist Patrick Coyle is documenting our residency programme through performance and writing. At 6.30pm on 12 May, Coyle will present a performative tour interpreting the works of the four residency artists. Documentation of this will be available in Wysing’s reception alongside a reading area and further information on all the artists.

The exhibition continues until 27 May and is open daily, 12-5pm.

LACUNE. 
Spazi di archeologia ed arte contemporanea

Museo Archeologico Eno Bellis, Oderzo (TV)

6 maggio 2012 – 1 luglio 2012

Inaugurazione: sabato 5 maggio 2012, ore 19.00

Il Museo Archeologico Eno Bellis e la Fondazione Oderzo Cultura Onlus presentano, dal 6 maggio al 1 luglio 2012, la mostra LACUNE. Spazi di archeologia ed arte contemporanea.
Il progetto propone un dialogo tra archeologia ed arte contemporanea intorno un tema comune: la lacuna.
Il vuoto, l’interruzione – spaziale e temporale – e l’urgenza di confrontarsi con l’oggetto archeologico in uno spazio museale già fortemente caratterizzato sono il punto di partenza della riflessione dei sette artisti selezionati in un progetto di Laura Lanteri: Salvatore Arancio, Marco Belfiore, Francesco Bertelé, DRAOK_Giorgio Guidi e Marta Pierobon, Claudia Losi, Alessandro Roma. 
Il dialogo tra passato e presente si rivela attraverso le evidenze della continuità e della frattura, con l’accostamento di elementi naturali (argilla, gesso), tecnologia (installazioni sonore e video) e suggestioni che trovano la loro origine nelle storie dalla terra, in un riferimento non celato al testo dell’archeologo Andrea Carandini. 
Le opere occupano lacune scelte personalmente dagli artisti: gli interventi proposti sono riempimenti reversibili - alcuni realizzati appositamente per gli spazi del Museo Archeologico Eno Bellis - in grado di non intaccare l’allestimento, ma di completarlo, suggerendo forme diverse di integrazione.
Accanto alle opere di arte contemporanea la mostra accoglie una serie di reperti archeologici solitamente conservati nei magazzini del Museo e provenienti dagli scavi condotti ad Oderzo dalla Soprintendenza per i Beni Archeologici del Veneto, che occuperanno ed amplieranno il percorso di visita.
Si tratta di forme “altre” di lacune, di oggetti generalmente non fruibili, alcuni mai esposti sino ad ora, la cui presenza, relativamente estranea al contesto, coinvolgerà il visitatore in una riflessione più ampia sulla varietà di lacune che coinvolgono lo spazio di un Museo Archeologico.

La mostra sarà aperta dal mercoledì al sabato con orario:
9.00-12.00/14.30-18.00, la domenica dalle 15.00 alle 18.00.
Inaugurazione: sabato 5 maggio 2012, ore 19.00.

Museo Archeologico Eno Bellis

Fondazione Oderzo Cultura Onlus

Via Garibaldi, 63 - 31046 Oderzo (TV)

tel/fax 0422 713333

www.oderzocultura.it

eventi@oderzocultura.it

museoarcheologico@oderzocultura.it

Brevi biografie degli artisti in mostra

Salvatore Arancio Salvatore Arancio è nato a Catania nel 1974. Vive e lavora a Londra.
Mostre personali e collettive recenti: Spacex, UK, 2011; Fondazione Sandretto Re Rebaudengo, Guarene d’Alba, 2011; Federica Schiavo Gallery, Roma, 2011; Palazzo Riso, Palermo, 2011; MAGASIN, Grenoble, 2010; Frame, Frieze Art Fair, Londra, 2010; Prague Biennial 4, Praga, 2009; GAM Torino, 2009. Vincitore del Premio ‘New York’ nel 2009.

Marco Belfiore Marco Belfiore è nato a Rovereto nel 1971. Vive e lavora a Milano.
Mostre personali e collettive recenti: Peep-Hole Annual Benefit, Milano, 2012; Officine dell'Arte, Viafarini, Milano, 2011; Spazio Morris, Milano, 2011; MARS Milan Artists Run Space, Milano, 2010; CAC Contemporary Art Centre, Vilnius, 2010; Acme Space Project, Londra, 2010; DOCVA/Viafarini, Milano, 2009; GCAC, Monfalcone, 2009.

Francesco Bertelé Francesco Bertelé è nato a Cantù nel 1978. Vive e lavora anche a Milano.
Mostre personali e collettive recenti: Galleria Gomiero, Milano, 2012; Padiglione Danese alla 54esima Biennale di Venezia, 2011 (con Carrozzeria Margot); VI Biennale di Pisa, 2010; Superfluo, Padova, 2010; Associazione Culturale 20 Minuti, Galleria Vastagamma, Pordenone, 2010; “XIV Biennale of Young Artists from Europe and the Mediterranean” National Gallery of Macedonia, 2009; GCAC, Monfalcone, 2009.

The Peripatetic School: Itinerant Drawing from Latin America

The exhibition will tour to:

22 September - 12 November 2011 | Drawing Room, London, UK

24 November 2011 - 19 February 2012 | MIMA – Middlesbrough Insitute of Modern Art, UK

28 March - 4 June  2012 | Unidad de Artes y Otras Colecciones del Banco de la República, Bogotá, Colombia

Brigida Baltar, Jose Tony Cruz, Andre Komatsu, Mateo Lopez, Jorge Macchi, Gilda Mantilla and Raimond Chaves, Nicolas Paris, Ishmael Randall Weeks

Curated by Tanya Barson, Curator of International Art, Tate Modern

This group of artists from across Latin America share an engagement with the landscape, whether urban or rural. More specifically, they are concerned with travelling or moving through the landscape, and frequently with walking, which is combined in their work with diverse approaches to drawing. Images that are the result of itinerancy or nomadism, places, scenes and things observed along the way, abound. They journey out of the studio, into the neighbourhood, the city, the territory or entire continent beyond, in a manner that evokes by turns Surrealist, Borgesian or Situationist metropolitan perambulation, or exploration in wilderness spaces nature and culture.

The individual bodies of work destabilise assumptions about the continent. They present instead individual testaments to the extraordinary heterogeneity of its people, culture, languages, cities and landscape.  These artists address the actions taken by man in the world, his passage through the landscape and impact upon it. Often, they themselves conduct journeys or undertake residencies as a form of aesthetic nomadism.  Symptomatic of this itinerant tendency is their frequent recourse to drawing.  Drawing has always been the most portable medium, the fundamental exploratory tool to which the artist returns time and again. However, for these artists, drawing has become a focus of expanded practices that engage with the landscape and culture as a subject and source for exploration, as well as philosophical speculation. Not only do they explore the world at large, but simultaneously the parameters of drawing itself, often using unconventional materials or strategies. These artists seek to blur the traditional boundaries between media categorisations; work on paper becomes sculptural object and simple line drawing becomes video animation. Drawing travels off the page and into the environment itself.

Co-publication with Ridinghouse. Edited by Tanya Barson and Kate Macfarlane, it will include essays by Moacir dos Anjos, Tanya Barson, Pablo Léon de la Barra & Isobel Whitelegg and colour plates of works in the exhibition.

www.drawingroom.org.uk

http://www.visitmima.com/

http://www.banrepcultural.org/museos-y-colecciones

THE COSMOS RESIDENCIES ANNOUNCED

617 artists from across the world applied for one of the twelve places on offer for our 2012 residencies The Cosmos, The Mirror and The Forest. Selection is still taking place for The Mirror and The Forest but artists for The Cosmos are being announced today. They are:

Salvatore Arancio

Flora Parrott

Nilsson Pflugfelder

Stuart Whipps

In addition, and reinforcing the literary influences on the residencies, Escalator artist-in-residence Patrick Coyle will document the year’s programme trhough creative writing.

The four artists will re-locate to Wysing for six weeks from 1 April. Throughout the six week period a series of public talks and events with invited participants will expand thinking around The Cosmos, the initial focus of which will be exploring the past, origins and knowledge.

At the end of the six weeks period a public presentation of initial outcomes from the residencies will take place in Wysing’s gallery, from 12-27 May 2012.

http://www.wysingartscentre.org

The Cosmos is funded by Arts Council England and Paul Hamlyn Foundation.

WYSING ARTS CENTRE, Fox Road, (near) Bourn, Cambridge, CB23 2TX

OPENING: 18 February 2012 – 6.30 PM

EXHIBITION: 19 February  - 3 March 2012

flip presents a project in collaboration with:  Eloise Hawser.   Martin Soto Climent. Patrick Tuttofuoco.   Per-Oskar Leu.   Lena Henke.   Andrea Sala

Art Metropole hosts how to make a delicious tea, an ongoing accumulative project, reflecting on artistic production in terms of subtle and layered processes. It extends from the idea of the print, addressing the singularity of the original and implications of reproduction.

The project is the re-representation of an image from an existing work transformed through reprint and shift in materiality. Silk is the support; it refers to changes in material perceptions and alludes to notions of hierarchy. It is this small shift that creates a new object, with a kind of conceptual blurriness, as it hovers between documentation and a ‘new work’.

how to make a delicious tea expands with additional artist collaborations contributing specific work to this process.

ART METROPOLE. Toronto

788 King St W.

http://www.flipprojectspace.com/

OPENING: 16 February 2012

EXIBITHION: 16 February- 15 April 2012

THE ASPEN ART MUSEUM PRESENTS JAY HEIKES, ’ BURIED IN THE BRIGHT';

SECOND PHASE OF WINTER 2011-2012 NEW MUSEUM SITE-SPECIFIC PROGRAMMING

ASPEN, COLORADO — Beginning on Thursday, February 16, 2012 the Aspen Art Museum presents the on-site installation of Jay Heikes’ Buried In The Bright (2012), a mixed media installation created as part of the Aspen Art Museum’s site commissions programming at the location of its future facility on the corner of South Spring Street and East Hyman Avenue in downtown Aspen. Buried In The Bright will remain on view through April 15, 2012. Heikes’ work represents the second phase of AAM winter 2011-2012 new site programming, following artist Mika Tajima’s installation, Pineapples and Pyramids, which was on view through February 12, 2012.

Jay Heikes’ work explores the artistic processes of evolution and regeneration, as well asthemes of stasis, corrosion, texture, and alchemy. In both nature and culture, Heikes is interested in the idea of life cycles, and the notion that mutation and change are essential elements of the creative process. Buried In The Bright combines found and constructed elements, including an 18-foot piece of Mississippi River driftwood.

Jay Heikes was born in 1975 in Princeton, New Jersey, and lives in Minneapolis, Minnesota. His work has been exhibited at the Artist Space, New York; the 2006 Whitney Biennal; the ICA Philadelphia; the Walker Art Center, Minneapolis; and the Museum of Contemporary Art, Chicago, among others.

Jay Heikes’ exhibition is funded in part by the AAM National Council. Exhibition lectures are presented as part of the Questrom Lecture Series.

The Aspen Art Museum is a noncollecting institution presenting the newest, most important evolutions in international contemporary art. Our innovative and timely exhibitions, education and public programs, immersive activities, and community happenings actively engage audiences in thought-provoking experiences of art, culture, and society.

ASPEN ART MUSEUM

590 North Mill Street
Aspen,

CO 81611

www.aspenartmuseum.org

FULLSCREEN at the Peckham Hotel

The Peckham Hotel presents FULLSCREEN, an evening of short films selected by Rob Sherwood, at 7.30pm on Monday 5 December. The event was initially conceived as an accompaniment to the ongoing Point. Line. Plane. exhibition at Hannah Barry Gallery, a means of exploring the eponymous axioms in video art. This hour-long screening presents a survey of contemporary practice on that theme alongside works by influential film artists.

The programme takes as its departure Walter Ruttman's seminal Opus I before pursuing branching themes through contemporary moving imagery on film and digital formats. The screening brings together, in non-chronological order, short works by artists who have presented new ideas of space, pattern, collage and (dis)harmony. Handcrafted animation techniques are presented alongside digital montage, and different means of presenting virtual and cinematic space through time are elaborated. The emphasis is on contemporary practice, with influential works by figures such as John Whitney and Robert Breer included to contextualise the development of the form.

There is a focus on the artisanal impulse in film-making, and the collected works, presented in sequence, describe the combination of exhilaration and anxiety that is typical of our contemporary engagement with short film through video-sharing networks. The screening will be followed by drinks, discussion and music from DJs Tom Harrad and Musa Kusa in the bar.

-Ben Eastham

The Peckham Hotel

137–139 Copeland Road

Peckham

London SE15 3SN

Fullscreen.tumblr.com

Opening 26 November

Exhibition: 27 November - 5 December, 2011

Curated by Meredith Carruthers

MOLINARI, SALA, MUNARI

The mSm exhibition brings together three artists that in different times and contexts each played with the potential of geometry to elude the constraints of modernism, leaping outside the flat plane to surprise and engage the viewer. The project positions contemporary artist Andrea Sala between the work of Montreal artist Guido Molinari (1933 – 2004) and Milanese artist Bruno Munari (1907 – 1998). Wearing the mask of one artist to engage with the work of the other, Sala investigates the shift between 2 and 3 dimensions these artists made in their own work. mSm is the result of a one-month residency by Andrea Sala at the Guido Molinari Foundation. Created in the studio space of Molinari, but informed by Sala's continued engagement with the work of Munari, Sala's new work performs the act of a double mirror, reflecting affinities between the work of Molinari and Munari in a newly constructed threedimensional display space.

In the exhibition, original works by Molinari and Munari are animated by Sala's sculptural interventions, becoming characters in an unfolding object narrative. A group of paintings by Guido Molinari (untitled, 1970-72), where triangles of flamingo pinks, sea foam greens and pineapple golds vibrate against diagonal stripes, are viewed through Sala's upright plexi discs, slumping paper forms and ambiguous umbrella-like trees.

In dialogue with the Molinari paintings are selected experimental projects by Bruno Munari which also explore the kinetic potential of flat planes of colour when expectations of background and foreground collapse, in particular Munari’s "illegible books" (1949 - ) and a screen print from the series "negativi positivi" (1950 - ).

Sala extends this conversation into three dimensional space, populating his sculptural floor works with the motion and coloured light found in Munari's short films, (made in collaboration with Marcello Piccardo), I colori della luce (1963) and tempo nel tempo (1964).

The display in the gallery, elegantly playful, colourful and strange, creates an atmosphere that invites us to bridge time and context -- to see with someone else’s eyes so that we can understand things differently.

-Meredith Carruthers, Curator

Artists:

Guido Molinari (Montréal, Quebec, 1933 – 2004) applied colour and stripes to canvases that explored with the proportion of the rectangle and square, seeking to create a new colour space or spaces. In later works, Molinari’s chromatic investigations led him to create threedimensional art works, inviting viewers to physically enter spaces of saturated colour. Guido Molinari exhibited his work widely in both Canada and abroad; notably, in 1965 he took part in The Responsive Eye exhibition at MoMA, New York, in 1968 he represented Canada at the 34th Venice Biennale.

Bruno Munari (Milan, Italy, 1907 – 1998) in his artworks and visual books mined the associations of shapes, revealing the everyday associations of the circle, the square and the triangle. In his paper sculptures and “useless machines” created in the 1930’s Munari was seeking to liberate abstract forms in three dimensions, integrating his artworks with the surrounding environment. As an artist and designer, Bruno Munari published and exhibited his work across Italy and internationally. In 1948 he took part in the foundation of the "Concrete Art Movement" (MAC), and in 1970 participated in the Central Pavilion of the 35th Venice Biennale.

Andrea Sala (Como, Italy, 1976 –) in recent installations in London (Tuti Fruti, Commercial Road, 2011) and Rome (L’ultima sigaretta, Federica Schiavo Gallery, 2011), Sala has drawn from the visual and material vocabulary of the Italian art and design canon to create new hybrid worlds. Reassembling the geometry and materials of Italian modernism, Sala creates narratives that unfold in space, creating dynamic relationships between objects that can be read as an exhibition, a display or an environment. Andrea Sala is represented by Federica Schiavo gallery in Rome.

Curator:

Meredith Carruthers (St. Catharines, Ontario 1975 –) is an artist and curator living in Montreal. Her recent curatorial projects include Parade a choreographed collection display at the Leonard and Bina Ellen Gallery, Montreal (2011). With the artist-curator iniziative Leisure Projects (2004 -) she has produced exhibitions and special projects in collaboration with venues in Canada and abroad. From 2008-2011, she has worked on exhibitions as part of the curatorial team at the Canadian Centre for Architecture (CCA).

La Fondation Guido Molinari

3290, rue Sainte-Catherine Est

Montréal, QC, Canada, H1W 2C6

T : 514 524 2870

F : 514 524 6818

http://www.guidomolinari.com/fondation.htm

Salvatore Arancio, Untitled (Pavilion), 2009

Rencontres Internationales Paris/Berlin/Madrid
In Paris, November 18-26, 2011 

Saturday, November 26, 2011 6 pm 
Centre Pompidou, Cinéma 2 
Place Georges Pompidou, 75004 Paris, France 

presentation, screening, party 
FREE ENTRANCE


From November 18 to 26, 2011 the Rencontres Internationales Paris/Berlin/Madrid will create a space of discovery and reflection between new cinema and contemporary art in Paris, at the Centre Pompidou and the Gaîté Lyrique.

In the presence of artists and filmmakers from all over the world, this rare event will propose an international programme of film, video, multimedia. It includes It includes 25 screenings, an out of town day with the visit of several exhibitions through the Ile-de-France Region, a cycle of debates and panel discussions.

This year's programme has been selected from 5500 submissions as well as by invitations made to some artists and filmmakers. It is the result of an elaborate international search for works: 150 works from Germany, France, Spain and 40 other countries, gathering internationally-known artists and filmmakers with young artists and filmmakers presented for the first time.


For further information: Rencontres Internationales Paris/Berlin/Madrid

Exhibition October 29th – December 3th 2011

KADAR BROCK, LILAH FOWLER, CHRISTOPHER GREEN, TOM HACKNEY, NICK JEFFREY, WYATT KAHN, MOHAMMED QASIM ASHFAQ, ROB SHERWOOD, VIKTOR TIMOFEEV

Point. Line. Plane. is intended as a survey of current attitudes towards geometrical principles in contemporary non-objective painting and sculpture.

The show’s title is a nod to Kandinsky, and his influential treatise on the proper application of the eponymous principles. The movement of which he was a spearhead held that geometrical abstraction is the purest form of visual art composition, taking axiomatic rules rather than subjective experience as its foundation, and thereby providing access to an order and harmony inherently more stable and reliable than that provided by the fleeting subjects of ordinary experience.

Point. Line. Plane. brings together works in which the impulse towards order and harmony, as expressed through the combination of simple geometric forms or planes of colour, is reassessed, fractured or disrupted.

http://www.hannahbarry.com

WORKSHOP dal 10 al 18 ottobre

TALK APERTO AL PUBBLICO 16 ottobre ore 18.30  con Salvatore Arancio e Guido Molinari

RESIDENZA D'ARTISTA

workshop di ceramica nell'arte contemporanea

Salvatore Arancio

a cura di Guido Molinari

Ospite del museo da lunedì è un artista siciliano, che vive e lavora a Londra dal 1994, Salvatore Arancio. L'artista, scelto dal curatore Guido Molinari, si sta cimentando per la prima volta con il materiale ceramico in un progetto che porterà avanti con l'indispensabile supporto della ceramista Aida Bertozzi, tutor tecnico del museo, e di quattro studenti: Mirko Medri e Marco Lombardi dall'Isia di Faenza, Silvia Susanna Ferrera, studentessa portoghese del Ballardini di Faenza, e Valerio Nicolai dall'Accademia di Belle Arti di Venezia. E' fondamentale infatti per il Museo Zauli perseverare nel proprio ruolo didattico, che in questo caso si esplica attraverso l'interazione fra un artista e alcuni studenti, di diversa estrazione, che dall'esperienza possono apprendere aspetti direttamente inerenti al loro percorso di artisti o di ceramisti, o cogliere le possibili e fondamentali contaminazioni che l'arte può portare ad altri campi, come il design. E' da ricordare la preziosa collaborazione in tal senso con ISIA e Istituto Ballardini, che offrono ai propri studenti la possibilità di partecipare.

Proseguendo un lavoro iniziato nel 2003 il Museo Carlo Zauli, il progetto Residenza d'Artista prevede l'incontro fra un'artista, scelto da un curatore, la città di Faenza e il materiale ceramico. L'artista, con la supervisione di un tutor ceramista e di un gruppo di studenti del territorio e delle migliori accademie d'Italia, porta avanti un percorso che termina con la produzione di lavori, esposti in una mostra e in una pubblicazione. Uno dei pezzi prodotti in residenza entra in collezione al museo, contribuendo a lasciare un tangibile segno del lavoro in città, mentre l'altro, di proprietà dell'artista, diventerà mezzo di diffusione del nostro lavoro nel mondo dell'arte contemporanea. La partecipazione degli studenti al processo creativo e di realizzazione, coinvolti essi stessi a ideare e creare un loro pezzo in ceramica, porta avanti la forte attitudine didattica del nostro lavoro.

Questo progetto, come gli altri del museo, è possibile attraverso il contributo dei suoi preziosi sostenitori: Comune di Faenza, Regione Emilia Romagna, Banca di Romagna, Fondazione Banca del Monte e Cassa di Risparmio di Faenza, Coop. Ceramica Imola, Autorità Portuale Ravenna, Edilpiù, Ravenna Tendaggi, La Berta.

Domenica 16 ottobre alle ore 18,30 il workshop si apre al pubblico in un incontro presso la sala conferenze del museo. Arancio, insieme al curatore Guido Molinari che lo ha scelto per questo progetto, incontra la città per raccontare l'esperienza di questi giorni di lavoro nei laboratori di Via Croce, dell'incontro con la ceramica e con gli studenti che partecipano al workshop, oltre che il suo percorso di artista.

Hanno partecipato finora al progetto gli artisti:

Sergia Avveduti, Pierpaolo Campanini, Gianni Caravaggio, David Casini, Alberto Garutti, Francesco Gennari, Piero Golia, Bruno Peinado, Eva Marisaldi, Mathieu Mercier, Maurizio Mercuri, Marco Samorè, Luca Trevisani, Sislej Xhafa

Partecipano alla stagione 2011 - 2012: Salvatore Arancio (a cura di Guido Molinari), Folkert De Jong (a cura di Maro Tagliafierro), Diego Perrone e Christian Frosi, Davide Valenti (vincitore premio speciale Premio Artelaguna), Giovanni Giaretta (selezionato fra i giovani in studio presso Fondazione Bevilacqua La Masa).

www.museozauli.it

http://museocarlozauli.blogspot.com/

SHOW: OCTOBER  13th -  NOVEMBRE 15th, 2011

Cura. in collaboration with Federica Schiavo Gallery

Andrea Sala (b. 1976, Como, Italy) with TUTI FRUTI is the first of the five artists called to intervene in the window space of the London Metropolitan University, giving into Commercial Road, in the East End, a few steps from the Whitechapel Gallery.

Andrea Sala sees Commercial Road’s showcase as “the public that is within it” (Bruno Munari).

It is an opportunity to synthesize the elements of an investigation always aimed to the forms of design, of architecture and, to the idea of display as “place” where to create new ways of “exhibit.”
Andrea Sala brings all the structural elements of a common commercial showcase, to their essence: the plexiglass’ tubes in their primary colours, yellow, red and blue, that recall the neon lights of the shops; the mirror, which orders and, at the same time, multiplies the exposed merchandise, typical in many fruit markets of Montréal, city where he lives and works; the display, set up, perhaps, as to show (or not) other products in the future, but today it is still and only a display for fruit.

Opening 30 September, 19:00

1 October – 20 November

Curated by Alexandra Waldburg Wolfegg, Elena Agudio, Bessaam El Asmar and Tido von Oppeln.

In the context of design as an applied art, TOTEM AND TABOO views art as the hypothetical father figure or relative of design. The metaphor of family relationships and family similarity led the group of writers and curators behind the show to take a closer look at Sigmund Freud’s TOTEM AND TABOO. Written around 1910, in the same period that modern design was first coming into being, this seminal work portrays totem as an object representing an absent relative and taboo as the fear of incest, of excessive closeness. Even though Freud’s study neither has to do with art nor design, the exhibition takes it as a model for the relationship of the two fields.

PARTICIPATING ARTISTS/DESIGNERS: Øystein Aasan, Stephane Barbier Bouvet, Paolo Chiasera, Jan De Cock, Martino Gamper, Jeppe Hein, Lisa Lapinski, Rodney LaTourelle, Kai Linke, Kueng Caputo, Studio Makkink & Bey, Michaela Meise, Manfred Pernice, Gianni Pettena, Bertjan Pot, Stefan Sagmeister, Andrea Sala, Joe Scanlan, Clemence Seilles, Judith Seng, Jerszy Seymour, Florian Slotawa, Albert Weis, Johannes Wohnseifer, Heimo Zobernig, et al.

AN EXHIBITION of the series freiraum quartier21 INTERNATIONAL in cooperation with the Federal Ministry for European and International Affairs and other international partners

http://www.totemandtaboo.net

http://www.quartier21.at

FREIRAUM QUARTIER21 INTERNATIONAL

MuseumsQuartier Wien

Exhibition Launch: Saturday 1 October, 3-5pm, free

Join us for the launch of Salvatore Arancio's first UK solo exhibition: An Arrangement of the Materials Ejected. Arancio will talk about the new work created for the show in addition to his wider practice.

AN ARRANGEMENT OF THE MATERIALS EJECTED

1 October - 26 November 2011

A newly commissioned installation titled Everything Keeps Dissolving, stages a large drawing combined with a sculptural sound piece. The drawing is inspired by the geological phenomenon called Folded Strata whilst the sound piece was created by manipulating a drone from a seminal 1990s record by the experimental electronic band Coil. The manipulated sound, originally created to represent a certain hallucinogenic chemical, together with the visual element of the installation aims to create a sense of displacement in the viewer a kind of temporal slip or disruption.

A selection of drawings and etchings focus on imagery recurrent in 19th century geological illustrations. These take found images and use their literal meaning as a point of departure, transforming into poetic and visionary interpretations of nature. A new series of monotype prints and a sculptural piece depict images of mandrake roots. The root’s lysergic powers and uncanny man-like shape have been the source for the creation of many myths through the ages. Arancio juxtaposes images that are at once disquieting, yet seductive.

The split screen video installation Shasta (2011), originally shot on Super 8 film, takes inspiration from a Native American tribe’s account of the creation of Mount Shasta in California. The timeless visual and sound elements of the work stimulate ideas of narrative and storytelling in order to create a sense of awe seen as a metaphor for human inefficacy against the forces of nature.

Arancio has produced new work for the exhibition that creates a connection between Spacex and its natural surroundings. One example, the large print Bowerman’s Nose depicts a rock formation composed of stacks of weathered granite found on Dartmoor. Fascinated by the popular myths attached to the stone and its alleged past as a place of veneration, Arancio’s manipulation takes it out of context. Here it is presented as a mysterious monolith, a sculptural form both impenetrable and remote.

An Arrangement of the Materials Ejected is Arancio’s first UK solo show. It develops his interest and ongoing investigation into ideas of nature and it’s merging with science, myths and legends along with its relationship to the mystical.

http://www.spacex.org.uk/

T: 01392 431 786

Open Tues–Sat
10am–5pm
Admission free

Terrible Beauty: Art, Crisis, Change & The Office of Non-Compliance 

curated by Christian Viveros-Faune, Jota Castro 

6 September - 31 October 2011 
Preview date 5th September 


The title and theme of Dublin Contemporary 2011 is Terrible Beauty—Art, Crisis, Change & The Office of Non-Compliance. Taken from William Butler Yeats’ famous poem “Easter, 1916”, the exhibition’s title borrows from the Irish writer’s seminal response to turn-of-the-century political events to site art’s underused potential for commenting symbolically on the world’s societal, cultural and economic triumphs and ills. The second part of the exhibition’s title underscores Dublin Contemporary 2011’s emphasis on art that captures the spirit of the present time, while introducing the exhibition’s chief organizational engine: The Office of Non-Compliance. Headed up by Dublin Contemporary 2011 lead curators Jota Castro (artist/curator) and Christian Viveros-Fauné (critic/curator), The Office of Non-Compliance will function as a collaborative agency within Dublin Contemporary 2011, establishing creative solutions for real or symbolic problems that stretch the bounds of conventional art experience.

The Office of Non-Compliance, located within the Earlsfort Terrace exhibition site, will function as a promoter of ideas around a laundry list of non-conformist art proposals. The Office’s practice will be fuelled by the idea that not only has the world been transformed in the last few decades, the very concept of change itself has changed utterly. This element of the exhibition looks to highlight less conventional, largely artist-led models of art discourse, production and presentation. The Office of Non-Compliance will include ad-hoc, accessible structures for discourse around art and its place in society, such as a Bank of Problems, a Bank of Possibilities, One Problem a Week and a curated forum exploring one topical problem per week.

There are two further intriguing spaces within the Earlsfort Terrace complex: the serene Iveagh Gardens and the light-filled Annex, both adjacent to the main exhibition site. The former will function as an outdoor sculpture garden, while the latter will bring together a multiplicity of sound works under the title All Together Now.

Extending its reach across the city, Dublin Contemporary 2011 will partner with four important Dublin galleries: The Douglas Hyde Gallery, Dublin City Gallery The Hugh Lane, The National Gallery of Ireland and The Royal Hibernian Academy.

Friday 29 July 2011, 6 – 9pm 
Saturday 30 July 2011, 12 – 6pm 

Studio Voltaire, 1a Nelsons Row, London SW4 7JR 

All events and exhibitions are free, no booking required

For two days in July the artists at Studio Voltaire will open their workspaces to the public bringing a unique opportunity to view the diverse range of artworks that are produced within the 30 studios onsite. The event will include artist talks, screenings and drop-in family events as well as an opportunity to view the exhibition Currents by Glasgow-based artist Hayley Tompkins in Studio Voltaire’s galleries.

Studio Voltaire currently houses over 45 London- based artists, ranging from internationally recognised practitioners to recent graduates and includes two groups supporting artists with learning difficulties – Actionspace and Intoart. Our main objective is to create a supportive and critical atmosphere to develop diverse artistic practices. In recent years, the studios have also hosted a number of residencies; partner organisations have included Berlin Senate/Whitechapel Gallery, Scottish Arts Council/Collective Gallery, Art Links/British Council and Outset/Royal College of Art.

Studio Voltaire artist members include: Actionspace, Ray Andrews, Salvatore Arancio, David J Batchelor, Emma Bennett, Susanne Bürner, Kaye Donachie, Joelle Ford, Jeremy Glogan, Dave Hanger, Sara Haq, Intoart, Jonathan Joubert, Sharon Leahy-Clark, Elisabeth Lecourt, Arthur Medvedev, Dawn Mellor, Andy Parker, Matthew Poland, Frances Richardson, Paul Eugune Riley, Susan Spencer, Amy Stephens, Avis Underwood, Markus Vater.

For more information and/or images contact:
+44 (0)207 622 1294, info@studiovoltaire.org , www.studiovoltaire.org

The New York Foundation for the Arts

with Leadership Support from New York State Council on the Arts

Awards $728,000 in Grants through the 2011 Artist Fellowship Program

120 Fellows and Finalists Named; More Access for Industry Professionals introduced

The New York Foundation for the Arts (NYFA) today announced recipients for this year’s New York State Council on the Arts (NYSCA)’s Artist Fellowship Program, which awarded a total of $728,000 in unrestricted cash grants of $7,000 to artists throughout New York State. In an effort to recognize even more of the State’s outstanding talent, for the first time this year, NYFA also announced three finalists in each category; finalists do not receive a cash award, but will participate in various career enhancement opportunities. A total of 105 Fellows and 15 finalists were selected from a pool of 3,692 applicants in the categories of: Crafts/Sculpture; Digital/Electronic Work; Non‐Fiction Literature; Printmaking/Drawing/Book Arts, and Poetry. A complete list of Fellows, finalists and their counties of residence is below.

“The NYFA Fellowship awards represent to the New York State artist community a huge validation of their dedicated art practices. These awards to these great artists from around the state help in more ways than just financial support, they also propel these recipients to new levels of recognition in their careers,” said NYSCA Council Member Danny Simmons.

This year, NYFA will help the recipients expand their professional networks by holding a special reception on July 8th at The Bubble Lounge in Tribeca to introduce Fellows and finalists to industry professionals.

“We continually look to find ways to make our programs more impactful for artists,” says NYFA Executive Director Michael L. Royce. “Every application we received was reviewed by a peer panel of artists from across the state. This is a highly rigorous process and the recipients are incredibly talented. We want to make it easier for industry leaders to meet this group and see their work; therefore, in addition to inviting curators, gallery owners, agents, editors and publishers to the Fellowship celebration on July 8, we will also send an announcement, artist statements and work samples to more than 600 arts professionals throughout the state.“Now in its 26th year, the Artist Fellowship Program has awarded more than $26 million to over 4,300 artists. Among those who received support at critical stages in their careers are: 2011 Pulitzer Prize winners Jennifer Egan (Fiction) and Zhou Long (Music); Doug Aitken; Junot Diaz; Todd Haynes; Barbara Kruger; Spike Lee; Christian Marclay; Marilyn Minter; Lynn Nottage, and Julie Taymor

NYFA’s 2011 Artists’ Fellowships are administered by NYFA with leadership support from the New York State Council on the Arts. Additional support is provided by the New York City Department of Cultural Affairs, Deutsche Bank Americas Foundation, the John Burton Harter Charitable Trust, the Milton & Sally Avery Arts Foundation and one anonymous donor.

The New York Foundation for the Arts (NYFA) was founded in 1971 to empower artists at critical stages in their creative lives. Each year we provide over $1 million in cash grants to individuals and small organizations. Artspire, our fiscal sponsorship program, is the largest and most established in the country and helps artists and organizations raise and manage over $3 million annually. Our NYFA Learning programs provide thousands of artists with professional development training and our website, NYFA.org, received over 1.9 million unique visitors last year and has information about more than 8,000 opportunities and resources available to artists in all disciplines.

http://www.nyfa.org/level4.asp?id=497&fid=1&sid=1&tid=15

http://www.artomi.org/

14 June 2011 – 8 January 2012

Curated by Elvis Fuentes, Rocío Aranda-Alvarado, and Trinidad Fombella, El Museo del Barrio; and guest curator Juanita Bermúdez, Biennial of the Central American Isthmus

El Museo's Bienal: The (S) Files 2011 is El Museo del Barrio's sixth biennial of the most innovative, cutting-edge art created by Latino, Caribbean, and Latin American artists currently working in the greater New York area. This year's edition spreads all over the city, showcasing a record 75 emerging artists in six different venues.

Aiming to expand the definition of contemporary Latino and Latin American art, The (S) Files 2011 takes on a broad exploration of the visual energy, events, and aesthetics of the street. While considering the more conventional understandings of street art such as graffiti and mural painting, The (S) Files 2011 extends the definition of street art by also considering non-traditional art objects as well as works from other disciplines, including music and fashion.

The (S) Files 2011 explores how the boundaries between public/private and personal/universal are blurred by urban culture, and examines the street as catalyst for change in mainstream culture. The exhibition looks at how these social borders mix and dissolve in urban environments, and how artists use these social alterations as points of creative departure.

Among the themes developed in The (S) Files 2011 are the influence of early New York street art movements, text and urban styles, and the creation of art works from urban debris. The variety of issues addressed by the artists range from daily life situations, to social behaviors, to economic distress.

In addition to its overall focus on New York-based artists, The (S) Files 2011 celebrates the Biennial of the Central American Isthmus (Bienal del Istmo Centroamericano) by showcasing the work of a group of artists featured in its most recent edition.

http://www.elmuseo.org/en/event/el-museos-bienal-s-files-2011

Opening: 29 May, 5.00 – 7.00 PM

Exhibition: 29 May – 26 June 2011

Salvatore Arancio, Francesco Barocco, Marco Basta, Alighiero e Boetti, Chiara Camoni, Mario Ciaramitaro, Piero Fogliati, Luca Francesconi, Linda Fregni Nagler, Francesco Gennari, Giovanni Giaretta, Isola e Norzi, Diego Marcon, Alek O., Agne Raceviciute, Carol Rama, Alessandro Sciaraffa

Vedere un oggetto, vedere la luce is an exhibition featuring work by a cross-generational group of Italian artists and thinkers, including fourteen current practitioners and several from the past—among them figures like Galileo Galilei, Alessandro Volta, Carol Rama, and Alighiero e Boetti—whose legacies both inform and enrich the contemporary works on display.

Taking into account its site at a stately palazzo among rolling hills and vineyards, the exhibition will suggest the mind of a fictionalized and somewhat eccentric collector at work. This invisible figure—composed, inevitably, from the amalgamated tastes and concerns of the exhibition's three curators—has amassed and arranged a selection of contemporary and historical artworks alongside objects from the scientific and natural world in a space that is at once a palace, a museum, and a laboratory.

An important touchstone informing both the curatorial methodology and conceptual content of this exhibition is Joris-Karl Huysmans's seminal 1884 novel À rebours. This literary work introduces the character of Jean Des Esseintes, an aristocratic aesthete who withdraws to a rural palace, intent on creating his own insular sanctuary of beauty and reflection. In Esseintes's hermetically sealed interior, the symbolic power of objects and their perception become a foundation for new forms of belief. Yet while Huysmans's novel elevates artifice to a kind of apotheosis, the objects and artworks on view at Palazzo Re Rebaudengo are more firmly rooted in reality. In this way, Vedere un oggetto, vedere la luce seeks to demonstrate that empiricism and wonder are not in opposition, but intimately intertwined.

At the exhibition's core is an exploration of the interdependent notions of light and substance. Light, though immaterial, allows for the perception of the material world; the interplay of light against solid objects—the moon, for instance, or a mirror—is essential to vision. Works that take light as their source material or subject matter will therefore be displayed alongside others that emphatically assert their objecthood. In this way, both the totemic quality of materials and the physics of pure perception are evoked in an immersive installation that revels in sensuousness while still questioning the scientific causes at its root. This approach suggests a doubled understanding of vision as the source of both comprehension and imagination.

The artworks, natural specimens, and scientific ephemera that comprise Vedere un oggetto, vedere la luce foster an atmosphere of evocative associations. Playing on flaws and ruptures in chronologies and typologies, the exhibition asks viewers to consider new correlations between objects that might otherwise remain entirely unconnected. In the gallery space, the dialectic between light and substance can become a starting point from which to consider intersections between science and faith, rationality and mysticism, and perception and belief. Vedere un oggetto, vedere la luce finds pleasure in these relationships, teasing them out to arrive at unexpected transcendence.

Vedere un oggetto, vedere la luce (To see an object, to see the light) is curated by Ginny Kollak, Pádraic E. Moore, and Pavel S. Pyś, participants in the 2011 edition of the Fondazione Sandretto Re Rebaudengo Young Curators' Residency programme, coordinated by Stefano Collicelli Cagol.

Now in its fifth year, the Young Curators' Residency programme at the Fondazione Sandretto Re Rebaudengo aims to develop young curators' intellectual and professional capabilities and to promote Italian contemporary art worldwide. Every year three young foreign curators are invited to Italy for a four-month residency that culminates with an exhibition of Italian artists at Palazzo Re Rebaudengo in Guarene d'Alba.

Palazzo Re Rebaudengo

Guarene d'Alba

Cuneo, Italy

info@fsrr.org

www.fsrr.org

14 May -  3 July, 2011

CCEBA Paraná 1159 y CCEBA San Telmo Balcarce 115

Daniel Alcalá, Marcela Armas, Ishmael Randall Weeks, Santiago Cirugeda, Ignasi Aballí, Peter Garfield, Frédéric Post, Hassan Kahn, Eduardo Basualdo, Matías Duville, Erick Beltrán, Santiago Sierra, Diango Hernández, Nicola Lopez, Carlos Amorales

http://www.cceba.org.ar/v3/index.php

http://www.fondazionemaxxi.it/it/collezioni

http://www.giovanicollezionisti.it

http://www.ettorefico.it/home.html

Private View  4 May, 6 – 9 PM

Exhibition  5 May -  7 June 2011

The works exhibited were inspired by a residency in the Italian town of Spoleto. Here the artist experienced first-hand the frescoes of Giotto and found himself in the Umbrian studio of Sol LeWitt. The combination of the two significantly influenced his approach to the practice of painting.

The outcome was a useful exercise - a series of drawings tested an internal logic of pattern and progression. A similar logic taken into the action of painting forced the artist to focus on the particular operations of colour, texture and movement in the application of oil paint to canvas.

The tests this exercise proposed are part of the ebb and flo of the painter's progress. They have been extensively addressed by this body of work.

Hannah Barry Gallery

Unit 91 Copeland Road

Industrial Estate

133 Copeland Road

SE15 3SN

http://hannahbarry.com/exhibitions/new_works/

April 21 – May 22, 2011

Curated by Ian Cofre and Omar Lopez-Chahoud

Opening reception: Thursday, April 21, 6 – 9pm

Participating artists:

Alberto Borea, Monika Bravo, Tania Candiani, caraballo-farman, Sergio de la Torre, Blane De St. Croix, Ricardo Gonzalez, M & X, Teresa Margolles, Tom McGrath, Irvin Morazan, Richard Mosse, Alex Rivera, Javier Tellez, Patricia A. Valencia, Ishmael Randall Weeks, and Judi Werthein.

Tracing the Unseen Border is an exhibition curated by Ian Cofre and Omar Lopez-Chahoud that takes a look at the dynamics surrounding the border between Mexico and the United States. Each of the participating artists critically engages questions about this imaginary line, some as a representation of the actual physical space that separates both countries, and yet is unseen by a large part of the nations’ populations. Others turn their focus to the social, political, and economic implications affecting those who are determined to cross it. Collectively, the artists begin to expose the broader context in which there has been a move to obscure the border. This tendency coincides with a political discourse and policies that have shifted to border security, immigration reform, and protectionism. The artists’ works will help reveal and unravel the interconnectedness of this contemporary landscape to those who may feel far removed.

Blane De St. Croix will present a new piece specific to the border between the US and Mexico from his series oflandscape sections – miniaturized representations of the borders and crossings between countries in varying degrees ofconflicts with their neighbors. These borders have unintentionally become world icons, placed into the public’s mind by themedia, though are often barren lands devoid of people except for the occasional border outpost, border crossing stations,or border towns. These sculptures take a slice or section from nature as a still or subliminal image of an environment inthe past, present, or still in transition of being destroyed or healed, and is symbolic of important global issues in the worldtoday. Teresa Margolles presents a site-specific wall installation of the names of victims killed within one month of borderviolence. It forms a keenly aware memorial elucidating the daily practice of publishing the names of the dead in localnewspapers. During the opening night of the exhibition, Irvin Morazan will debut a new headdress and performanceentitled Coyotes. As the title suggests, the work draws upon the multiple associations and meanings of the word in bothtraditional and contemporary cultural contexts. Coyotes are channeled by shamans in Central America as a vehicle totransport themselves spiritually into different realms, as they represent humble arrogance, surprise, and risk-taking.Today, “El Coyote” is the name for a person paid to smuggle illegal immigrants across the border between Mexico and theUnited States. Morazan’s new persona is based on the common traits shared by El Coyote/coyote, which includesinventiveness, mischievousness, and evasiveness. The performance will be a playful yet provocative ritual intending tobestow safe passages for those crossing physical or metaphysical lines. Richard Mosse’s project NADA QUEDECLARAR was made by looking for traces of the people crossing the border illegally. Spending his time scouring thedesert or the side of the road, hunting for the litter left by this invisible traffic, he searched for what they leave behind intheir race across the border. He also found a lot of other trash scattered about, complicating the difference between cluesthat trace real journeys and what is simply evocative litter. Rapidly transgressing into fiction, the search became moreabout the fantasy than the thing itself – about expectation, desire, and projection. What was initially a frustrating search fordocumentary proof became an exuberant treasure hunt for narrative cues and allegory.

SAVE THE DATE:

Tracing the Unseen Border: A Discussion

In conjunction with The New Museum’s Festival of Ideas for the New City

Date: Sunday, May 8, 2011

Time: 4 – 6 pm

Participating artists will join a panel moderated by Ian Cofre and Omar Lopez-Chahoud to discuss their work in the exhibition, Tracing the Unseen Border. They will address issues about the border experience that transcend its geographical location, influence the work they make as artists based in New York City, and go on to affect the City and its immigrant population.

The Festival of Ideas for the New City, May 4-8, 2011, is a major new collaborative initiative in New York involving scores of Downtown organizations working together to harness the power of the creative community to imagine the future city and explore ideas that will shape it. The Festival will include a three-day slate of symposia; an innovative StreetFest along the Bowery; and over eighty independent projects and public events. For more information, visit festivalofideasnyc.com.

http://lamama.org/category/lagalleria/

BRUMA Presented by Alexander Dellal and Revolver Gallery, Peru With the support of Mario Testino At 20 Hoxton Square | 24th March 2011

A group show exhibiting emerging artists from Peru, selected by Revolver Gallery in Lima and introduced to London by Mario Testino.

“...has taken the white veil; and there is a higher horror in this whiteness of her woe. Old as Pizarro, this whiteness keeps her ruins for ever new; admits not the cheerful greenness of complete decay; spreads over her broken ramparts the rigid pallor of an apoplexy that fixes its own distortions. I know that, to the common apprehension, this phenomenon of whiteness is not confessed to be the prime agent in exaggerating the terror of objects otherwise terrible; nor to the unimaginative mind is there aught of terror in those appearances whose awfulness to another mind almost solely consists in this one phenomenon, especially when exhibited under any form at all approaching to muteness or universality.” Herman Melville. Moby Dick, 1851

‘Bruma’, the Spanish word for veil or cover encompasses a common theme in the selected artworks of what is hidden and what can be unveiled. The works create a mysterious landscape that, in spite of the diverse individual intentions of each artist, raises questions about their collective unconscious. The works in the show seek a real-time reaction from the spectator yet are loaded with specific historical, cultural and social references. Time and space function as a blinding mist that could limit the perspectives as well as unveil a second layer of hidden intentions and meanings determining the constant change in what is perceived by the observer.

Exhibiting these Peruvian artists in London will shed a new perspective into the unconscious dimension of their work and is also an exciting taster of the things to come from the growing contemporary art scene of Latin America. The show includes works by artists Miguel Andrade Valdez, Jerry B. Martin, José Carlos Martinat, Ishmael Randall Weeks and Giancarlo Scaglia.

"I am pleased to have been able to introduce Revolver Gallery from Lima, Peru, to 20Hoxton Square Projects, a London-based art space, two young institutions from dissimilar countries. Both have a respectable program of exhibitions and represent a selection of amazing visual artists. Being an avid supporter of both Galleries, I am extremely excited by the prospect of showcasing Peruvian talent at this exciting space in London."

Mario Testino

Notes to Editors About Alexander Dellal Alexander Dellal launched 20 Hoxton Square Projects in 2007 as a collaborative project space and a creative hub for independent projects. Since its inception the gallery has gained a reputation as a dynamic space, working with established artists, galleries and guest curators, whilst nurturing its own stable of artists in a progressive artistic environment. Alexander is now going on to produce projects and exhibitions in a range of temporary spaces Worldwide, working with a community of internation galleries and artsts.

About Revolver Gallery, Peru Revolver is the project of art dealer Renzo Gianella and artist Giancarlo Scaglia which began three years ago to boost the representation of the Peruvian contemporary art scene. Gianella and Scaglia set up Revolver in Lima on the first floor of a friend’s café three years ago, since then, they have been showing the most exciting of the new generation of artists in Peru. Its program is enhanced by a project of international residencies, which aim to create a dialogue between local artists and those of other latitudes in order to break the isolation of Lima’s art scene.

Exhibition Facts Exhibition Continues: 24th March – 30th April 2011 For press and information please contact Sophie@20hoxtonsquare.com 0207 729 2687

20 HOXTON SQUARE | LONDON | N1 6NT | WWW.20HOXTONSQUARE.COM | +44 207 729 2687

01 March 2011 - 01 July 2011

Anne Hardy, best known for her large scale photographs of meticulously constructed interiors, will take up residency at Camden Arts Centre in March 2011.

Over a period of 3 months Hardy will build a new 'set' in the Artists’ Studio using everyday, found materials and drawing on memories from the studio’s past residencies and performances. Using her camera to capture and activate the structure Hardy will produce a new photograph and for the first time offer visitors the opportunity to experience the actual construction behind the lens.

JUST PHOTOGRAPHY

MARCH 1st - 26th, 2011

Ancient & Modern, London presents two adjoining exhibitions sharing the medium of photography at Martos Gallery during March 2011. Just Photography brings together a cross-generational gathering of artists from Europe for whom photography exists either as dominant practice or a more casual endeavour. Presenting a range of works from the 1980s to the present day, through their various formal, conceptual or performative experiments, their photographs seem historically to be ambiguously located in time.

Just Photography includes Ketuta Alexi-Meskhishvili, Tim Braden, Bianca Brunner, Hugo Canoilas, Ernst Caramelle, Lourdes Castro, Raphael Danke, Jane England, Jason Evans, Adam Gillam, Melissa Gordon, Ilana Halperin, Anne Hardy, Raphael Hefti, Alex Heim, Jessica Mallock, Andrew Mania, Rudolf Polanszky, Sam Porritt, Dan Rees, Sophy Rickett, Karin Ruggaber, Monika Schwitte, Lindsay Seers, Miroslav Tichy and Li Yuan-chia.

For further information please contact the gallery at 212.560.0670, info@martosgallery.com, or visit www.martosgallery.com.

RISO - Museo d'Arte Contemporanea della Sicilia

Opening: venerdì 4 febbraio, ore 19.30 - Project Room

Talk: venerdì 4 febbraio ore 18.30 - Galleria S.A.C.S

a cura di Helga Marsala

4 > 15 febbraio 2011

www.palazzoriso.it

HELGA MARSALA

L’odissea sublime. I paesaggi inquieti di Salvatore Arancio

“L’orrendo che affascina”, lo definiva Edmund Burke. Qualcosa di molto vicino all’idea di pericolo, di dolore, di devastazione. Qualcosa che fosse talmente incontenibile da suscitare “la più forte emozione che l'animo sia capace di sentire". Fa paura, il sublime. Dinanzi a tale misteriosa epifania l’animo è come dissolto, precipitato nella contemplazione di ciò che resta intrattabile, ingestibile. Fascinans e tremendum: è la doppia natura del Sacro, mistero che attrae e respinge, mettendo in atto il gioco di unaoscura seduzione psichica e spirituale.

Ma è anche il sublime kantiano - la cui formulazione, all’interno della “Critica del giudizio”, segue di qualche decennio quella di Burke – a confrontarsi con l’idea di vastità, di grandezza incommensurabile, di potenza o ampiezza illimitata. Kant sviluppa un discorso complesso intorno al concetto di sub-limen, limite sensoriale e soglia dello sfondamento. La coscienza, confrontandosi con straordinarie forze naturali dinamiche, oppure misurandosi con il concetto iperbolico di infinito, arriva a sfiorare le altezze audaci di un universo senza tempo, senza misura, senza margini. L’esperienza del sublime si collega alla raggiunta consapevolezza della propria superiorità rispetto alla Natura e della propria capacità di contenere l’incontenibile.

Il paesaggio, per Salvatore Arancio, non prescinde da simili suggestioni filosofiche. L’idea del sublime ritorna, con decisione, in tutto il suo immaginario visivo: l’intreccio invisibile fra accenti e caratteri opposti fa sì che una certa attitudine al melanconico e al contemplativo si coniughi con un rigore analitico di matrice scientifica; al contempo, la nitidezza di forme geometriche assolute convive nei suoi lavori con l’evocazione di una energia vulcanica, intercettata fra terra e cielo.

Le fotoincisioni di Arancio nascono da rielaborazioni di antiche stampe d’ambito scientifico, che ancora conservavano quella tensione estetica tipica dell’iconografia del paesaggio fino ai primi dell’ Ottocento. Nonostante le chiare finalità di studio e osservazione del dato naturale, queste illustrazioni mantenevano un inconfondibile appeal derivato da residui riferimenti pittorici, mitici, fantastici, poetici. Il paesaggio, pur non apparendo più come una pura elaborazione artistica, mediata dallo sguardo del genio visionario, non era nemmeno – ancora - quel paesaggio-ambiente carico di significatiti scientifici che Alexander Von Humboldt cominciava a raccontare alla borghesia tedesca di fine Settecento.

Una borghesia tutta protesa verso un percorso di desacralizzazione e disestetizzazione dell’idea di natura.
Il successivo intervento digitale, che Arancio effettua all’interno di queste immagini, è volto a mixare piani, luoghi, dettagli, dando vita a spazi ulteriormente ambigui, apparentemente fedeli all’originale ma in realtà piegati all’errore e votati alla metamorfosi. Eruzioni vulcaniche, minacciosi banchi di vapore caldo, aride distese rocciose disegnano lo spazio inquieto dell’immagine, incidendone le linee del tempo con una intensità visiva pari al dinamismo, alla fugacità e all’inclassificabilità dei soggetti stessi. Le sue sono allora scene collocate a metà tra due categorie: lo stupore meditativo e l’immersione panica in fondo al paesaggio si sposano con quell’attitudine al gesto clinico che seziona, cataloga, osserva, analizza.

Questi temi tornano anche nel film Sentinel, una produzione del 2009 che l’artista dedica a uno dei suoi lungometraggi preferiti, 2001: Odissea nello Spazio. La poetica del sublime, la relazione tra forma e informe, l’intreccio di ordine e caos, il discorso sul tempo, lo sguardo verso il sacro: di questi spunti si nutre il video, concepito come radicale rielaborazione del capolavoro di Stanley Kub rick.
L’opera traccia il perimetro instabile di un paesaggio metaforico, mnemonico, poetico, mentale. Si tratta di un paesaggio dell’idea e dell’ombra, dispiegato lungo quel limen che lo sguardo e lo spirito giungono a valicare, trovandosi faccia a faccia con l’infinita potenza della Natura.

Le inospitali lande africane, in cui il regista americano aveva ambientato la prima parte del suo film – intitolata “L’alba dell’uomo” – diventano scenario della non-storia di Arancio, spazio ovattato e immobile da cui viene sottratto ogni gesto, ogni presenza, ogni evento. Spazio in cui l’unico accadimento possibile è quello dell’inverarsi del paesaggio stesso, la sua avanzata luminosa, il suo incedere maestoso, il suo esserci senza dichiarare nulla, senza muovere nulla, senza lasciare che nulla si sussegua. Null’altro che paesaggio, inesorabilmente.

L’artista, con un raffinato intervento di postproduzione, lavora fotogramma per fotogramma, cancellando le mitiche figure delle scimmie, uniche forme viventi in quell’angolo remoto di mondo. A restare, dopo opportune modifiche di alcuni segmenti audio, sono solo le grida stridule dei primati, tracce superstiti lasciate echeggiare nel vuoto. Il decentramento del suono rispetto all’immagine, spinto fino all’esclusione totale dal campo visivo, determina una vertigine percettiva, uno stato di confusione e smarrimento. Persa ogni funzione illustrativa o esplicativa, il suono sopravvive ma si stacca dalla visione, trasformandosi in emanazione chiaroscurale ed evocativa. Al contempo, la visione è ridotta a fantasma,  residuo di una sparizione ed assenza incombente. Il cortocircuito tra livello sonoro e livello narrativo contribuisce a modificare direzione e qualità di un tempo smaterializzato, costretto a scindersi in due direttrici indipendenti.

Così, l’ambiguità temporale, l’incombere del mysterium e il senso di sospensione che connotano il film di Kubrick, vengono qui esasperati, portati all’eccesso e  virati verso una dimensione estetico-immaginativa ancor più spaesante. In Sentinel la relazione tra uomo e natura, tra paesaggio e presenza umana, si complica grazie a un gioco di ribaltamento, di svuotamento, di straniamento ed esacerbazione.

A dominare le scene finali del video è il famoso monolite, protagonista dell’incredibile odissea kubrickiana. Nell’opera di Salvatore Arancio la maestosa pietra ambigua forma nera si erge come muta icona, forma imperscrutabile da cui emana una forza aliena. La sagoma opaca, che contrasta con la spigolosa irregolarità del paesaggio, conduce il pensiero verso un’idea di perfezione, verso un’immagine del divino e  dell’assoluto. E di nuovo torna quel misto di paura e terrore, quel potere seduttivo che alberga nel paesaggio e che pure  convive con il sentimento violento dell’inabissamento, della deriva, della perdita.

Xz`

“… La mia ardente volontà creatrice mi spinge sempre di nuovo verso l’uomo; così il martello è spinto verso la pietra. Ahimè, uomini, nella pietra dorme un’immagine, l’immagine delle mie immagini!”

La pietra cui si riferiva Zarathustra, nel celeberrimo testo di Nietzsche, era metafora di un uomo dormiente ma destinato a un radioso risveglio, futuro übermensch da cui la volontà, come un martello, avrebbe tratto una forza di rinnovamento e di superamento. Da quest’uomo, o da quella pietra, sarebbero venute fuori immagini rigogliose e ardite, immagini del rischio e dell’elevazione, immagini trasmutative, testimoni di una metamorfosi delle cose, degli animi, delle sostanze, dei luoghi.
Qualcuno ha associato il monolite di Kubrick alla pietra filosofale degli alchimisti, a sua volta evocata da quella pietra nietzschiana che, come un magnete, avrebbe continuato a richiamare i colpi decisi del martello.

Il monolite come il “lapis philosophorum”? Nella tempesta cromatica della trama filmica, nell’intreccio dei colori saturi impressi sulla pellicola, l’immagine del viaggio alchemico incontro all’oro si fa intrigante suggestione. Un’altra possibile visione del sublime e della sua smisurata potenza, distesa sul limite inquieto del paesaggio.

Artists' project Washington, London, Berlin, Los Angeles, Cape Town

January 7,  2011 – February 5, 2011

Bhakti Baxter
Daniel Milewski
Marcos Valella

Bhakti Baxter b. 1979 Miami, Florida. Bhakti will present a series of never before exhibited sculptural works. Through a gestural practice Bhakti is exploring design, form, and abstraction. This will be his first exhibition with Gallery Diet though he has exhibited widely both locally (including a solo exhibition at The Museum of Contemporary Art) and Internationally including his most recent solo exhibition at Federica Schiavo Gallery in Rome, Italy.

Daniel Milewski b. 1978 Auburn, Massachusettes. Daniel will present a body of new work including photography, video, and drawing. Through repetition there is an exploration of form and content. He has exhibited in a solo exhibition at Gallery Diet, where he is represented, and most recently at Dimensions Variable in the Design District.

Marcos Valella b. 1981 Miami, Florida. Marcos will present a series of recent paintings in the gallery projects room. The paintings in this exhibition continue an exploration of contemporary and modern tendencies in the reading of painting through abstraction. This will be Marcos's first time exhibiting with Gallery Diet, he has recently exhibited at the Miami Art Museum and will be participating in the Bass Museum's Berlin residency this coming Spring.

The gallery will remain open for the Wynwood Second Saturday walk on Saturday, January 8th, 2011 until 9 PM. The exhibition runs thru February 5th, 2011 with viewing hours Tuesday thru Saturday 11 a.m. - 5 p.m. and by appointment.

About Gallery Diet:

Gallery Diet is a contemporary art gallery located in the Wynwood District of Miami, Florida where it has existed since 2007. The gallery has produced over 25 solo and group exhibitions by new and emerging artists from around the world and has documented those exhibitions in hard cover print on a yearly basis. Represented artists include Charley Friedman, Christy Gast, Richard Höglund, Abby Manock, and Daniel Milewski.

For additional information or high resolution images please contact info@gallerydiet.com or +1.305.571.2288

Opening: 16 December 2010

Exhibition: 16 December 2010 / 15 January  2011

8.30 PM – Revolver Galeria – Calle General Recavarren 298, Miraflores, Lima, Peru

9.30 PM – La Ex Culpable – Sucre 101, Barranco, Lima, Peru

Live Auction: 24 November 2010

Exhibition: 25-27 November 2010

Shelter and 20 Hoxton Square Projects present an exclusive exhibition featuring work from celebrated artists, including Grayson Perry, Rob Ryan and Sir Terence Conran.

52 artists have each donated a piece of work to Shelter, each representing a week of the year. The exhibition will take place at 20 Hoxton Square Projects, 20 Hoxton Square, London, N1 6NT from 25 – 27 November 2010.

All 52 pieces will be auctioned in aid of Shelter, with a live auction on 24 November of 20 pieces.

http://england.shelter.org.uk/what_you_can_do/events_and_challenges/52_weeks

Exhibition 14 -17 October 2010 - Federica Schiavo Gallery - Stand R 10

15 October 2010 - 23 January 2011

Destruction in art - 50 years after Tinguely's Homage to New York

Group show in collaboration with the Swiss Institute, New York
Co-curated by Chris Sharp and Gianni Jetzer

Nina Beier + Marie Lund, Monica Bonvicini, Pavel Büchler, Nina Canell, Jimmie Durham, Alex Hubbard, Alexander Gutke, Martin Kersels, Michael Landy, Liz Larner, Christian Marclay, Kris Martin, Ariel Orozco, Michael Sailstorfer, Arcangelo Sassolino, Jonathan Schipper, Ariel Schlesinger, Roman Signer, Johannes Vogl

“Under Destruction” is a group exhibition, featuring some twenty internationally known contemporary artists, that examines the use and role of destruction in contemporary art. Fifty years after Jean Tinguely's historic Homage to New York (1960), the present exhibition proposes a series of alternative approaches to a theme traditionally associated with the more spectacular and inherently protest-oriented work of Tinguely, Gustav Metzger and others in the 50s and 60s. "If nothing can be created, something must be destroyed", is how Rosalind Krauss succinctly summarized Georges Bataille's The Accursed Share. While this phrase can basically describe the ethos of “Under Destruction”, the exhibition raises the stakes normally linked with such a deleterious theme. Not only does it explore the various modes of destruction in art, but, more importantly, it also address es to what ends it is implemented. Indeed, the exhibition reflects on the subject from a series of angles, perceiving destruction as everything from a generative force to environmental memento mori, and from consumer fallout to a form of poetic transformation. Predominantly kinetic, the show largely consists of works whose mechanisms reveal themselves in real time to the viewer. The strikingly spectacular nature of some works is complemented by an unexpected sense for subtlety and quietude in other works, the combination of both progressively revealing the rich diversity of destruction in contemporary art.

Palazzo Collicola Arti Visive

10 ottobre 2010 - 7 gennaio 2011

Opening: sabato 9 ottobre 2010 dalle 12:00 alle 24:00

http://www.facebook.com/album.php?aid=39028&id=136041729754272

September 16 – October 23, 2010

Marianne Boesky Gallery is pleased to announce the exhibition of new works by artist Jay Heikes. This is the artist’s second New York solo show at the gallery.

For this exhibition the artist presents a recent body of work in varying mediums including photography, painting, sculpture and installation. As in previous bodies of work, the pieces in Inanimate Life explore the artistic process of evolution and regeneration, as well as the themes of stasis, corrosion, texture, and alchemy. Heikes also develops the more recent theme of an inanimate life force, as the show title suggests, positioning the exhibition in direct opposition to the recent trends of participatory art while investigating a parallel sort of dematerialized art object.

In creating this series of works, Heikes was inspired by Douglas Coupland’s imagery in describing the year following the end of the world from his 1998 novel Girlfriend in a Coma. Heikes was particularly affected by the line “ten million pictures fall from ten million walls,” which alludes to the end of art and culture, as we know it. “I never put too much stock in the fact that any of these mediums were truly dying because I saw them as corpses dragging themselves through the streets to rehabilitation centers, only to be reborn more grotesque and perverse than before,” Heikes states in describing his reaction to the text.

In this exhibition Heikes will include two works of enamel and pigment on steel titled Negative Approach and Conversations With A Bitter Pill referring to the sometimes difficult dialog an artist has with his or her own work within the precarious confines of painting and sculpture. These works depict colorful zigzag lines resembling magnified swatches of fabric or the cosmological background radiation we’ve come to know as television static. In his previous works, the spray painted static lines characterized the unchanging, unmoving image. However, the applied color vibrated while the surface of the steel rusted creating a paradox between stasis and entropy. Heikes takes these works a step further by linking the image of stasis to the stillness of miscommunication that produces the collective unconscious. No longer rusting, these new works have fully regenerated and are now in a state beyond their eroded self.

In relation to the static works Heikes will display the sculpture Heartless Ascension made of iron and bronze, a metal combination that is akin to a battery corroding, constantly creating a charge through the rejection of each metals’ molecular make-up. Based on the image of a crumbling spiral staircase, Heikes aims to convey the feeling of helplessness experienced in dreams where the dreamer spends most of their time running in place. While the rusted iron and oxidized bronze embody a romanticized corrosion, the tendrils of the form relate to the endless spinning web of narrative. Previous iterations of these corroding sculptures were inspired by the use of materials commonly found in the artists of Arte Povera, specifically Michelangelo Pistoletto and Pier Paolo Calzolari. With their obsessions on the subject of the ‘infinite’, Heikes has found a like-minded group of artists to draw from.

Heikes continues to subvert his metaphors for deterioration and historical decay in a series of hand dyed palladium prints titled Civilians, depicting flannel wearing fragmented figures strewn across his studio floor. The shattered spectacles on the hornets’ nest headed figures recall the horror seen in Sergei Eisenstein’s 1925 epic Battleship Potemkin, which is commonly regarded as one of the earliest examples of montage in film. Heikes attempts to create a family tree in which the spectacles once shattered in Battleship Potemkin and further blurred in the paintings of Francis Bacon are reborn to represent a society grappling with the thought that in its attempt at pasting together events to create a sense of order, it is actually creating a monster of ruin. Heikes’ cycle of evolution and transformation is further represented by the sculpture Molting. Made of gelatin and pigment, Molting takes on the form of a large cosmic skin that has been shed and left to wither on the gallery floor. Heikes interest in Molting as a gateway to discard the baggage of the past is evident for not only its ephemeral quality but also in its likeness to scar tissue and the marks left to remind the body of past traumatic events.

The newest addition to the show hints at a departure for the artist. Influenced by the landscape of Joshua Tree National Park and the conflicted tale of a new generation that inherits a decimated landscape created by one man’s greed in Theodor Geisel’s story The Lorax from 1972, Prickly, Sickly and Thickly are three sculptures more related to dispositions and moods than to the simple representation of cacti. Using materials like hand-dyed porcupine quills and driftwood, the artist wonders himself if he’s somehow accidentally set up a system of hiring poachers in Africa to kill families of porcupines, mirroring the conflict involved in any tale of ambition.

Finally, in an attempt to illustrate how insular the artists’ endeavors can be, Outside World is a site-specific installation created as an escape of sorts. Acting as just that, a view to the outside world, Outside World is a partially obscured view of the adjacent alley through a re-imagined Mack truck radiator cover. It is the final act in a show full of personal meanderings about the way the world feels as it re-materializes into a manneristic and perverted version of itself leaving nothing but carnage in it’s path. Heikes’ aim is to create a life cycle; new work feeding off of dying, decaying work in order to be nursed back to life, only to begin its eventual demise.

Jay Heikes lives and works in Minneapolis, MN. His work has been exhibited at the Artist Space, New York, the Whitney Biennial in 2006, the ICA in Philadelphia, the Walker Art Center in Minneapolis, and at the Museum of Contemporary Art in Chicago.

Marianne Boesky Gallery is located at 509 West 24th Street, between 10th and 11th Avenues. Our hours are Tuesday to Saturday from 10am to 6pm. For further information or images, please contact Adrian Turner at 212.680.9889 or adrian@marianneboeskygallery.com

The exhibition “Manimal,” a project by Andrea Sala in Kaleidoscope's project space from June 24 to July 20, can be seen as a parody of trivially themed group shows and especially so-called summer shows, often informed by the holiday-like atmosphere of the season.

“Manimal” explores the formal potential of the classic subject of the animal world and its developments, not only in the visual arts but also in auteur and anonymous design, cinema and television. The exhibition is titled after the eponymous American TV series from the 1980s, which concerned the adventures of a man capable of transforming himself into any kind of animal, suggesting that the true object of interest of the artist's research is not so much the animal world for its own sake (which is in fact a neutral field, almost a pretext) but rather its representation in collective imagery and cultural production: the animal as seen by a humankind at once bewitched and domineering, becomes the symbol of the man's need to absorb, represent and in so doing transform everything that he experiences in his daily life.

Modifying the exhibition space by means of a sequence of sculpture-displays in enameled iron, chalk and polystyrene, which suggest caves and are inspired by the scenography of zoos and natural science museums, the Italian artist Andrea Sala (born in Como near Milan in 1976, lives and works between Milan and Montreal) has created a dreamlike habitat populated by camels, lions, dogs, cats, wolves, chameleons, dolphins, butterflies, snakes and birds, featuring the works of artists Allora&Calzadilla, Thomas Bayrle, Marco Belfiore, Riccardo Beretta, Matthew Brannon, Alex Cecchetti, Christian Frosi, Fischli&Weiss, Roni Horn, Marcello Maloberti, Ariel Orozco and Shirana Shahbazi and the designers Michele De Lucchi, Jorge Ferrari Hardoy and Isao Hosoe, along with everyday objects and a work by Sala himself, Cicognino, inspired by the table by Franco Albini.

By choosing the animal world as the subject of its themed selection, “Manimal” radicalizes the parodic approach and transforms the exhibition space into a zoo. Perhaps it is in reference to the zoo that Milan has lacked after the shutdown of the zoo located in the Porta Venezia public garden, which left only ghostly cages and abandoned pools. Or perhaps it rather evokes the zoo as an emblem of the non-place, the alien and alienating urban landscape where everything can be seen and consumed but only in the attenuated form of things that have been removed from their own context; or again, the zoo as a magic, fantastic place, the realm of possibility where the rational, logical order can be altered...

The exhibition was made possible by the kind support of the exhibited artists and Collezione Enea Righi, Bologna; Cardi Black Box, Milan; Galleria Giò Marconi, Milan; Le Case d'Arte, Milan; Federica Schiavo Gallery, Rome; Galleria Franco Soffantino, Turin; Galleria Zero..., Milan; Fondazione Ordine degli Architetti di Milano; Valenti Luce, Milan.

Exhibition produced in collaboration with P+P Studio.

Greater New York

On view May 23, 2010 - October 18, 2010

Greater New York, the third iteration of the quintennial exhibition organized by MoMA PS1 and The Museum of Modern Art, showcasing some 68 artists and collectives living and working in the metropolitan New York area, will open at MoMA PS1 on May 23 and run through October 18, 2010. The 2010 exhibition will not only present recent work made within the past five years, but also will foster a productive workshop where artists will be invited to experiment with new ideas within MoMA PS1's building for the duration of the exhibition. Greater New York is organized by Klaus Biesenbach, Director of MoMA PS1 and Chief Curator at Large at The Museum of Modern Art; Connie Butler, The Robert Lehman Foundation Chief Curator of Drawings, The Museum of Modern Art; and Neville Wakefield, MoMA PS1 Senior Curatorial Advisor.

Covering a full range of practices and mediums, the artists in Greater New York are inspired by living in one of the most diverse and provocative centers of cultural activity in the world. The exhibition centers largely on the process of creation and the generative nature of the artist's studio and practice.  A number of artists are being commissioned to work in residence in MoMA PS1's gallery space to shoot photographs and video, rehearse and realize performances, and stretch the notions of sculpture, painting, photography, film, and video-making.

The Greater New York 2010 curators selected artists through studio visits, review of recommendations, mailed submissions, and through Studio Visit, a new initiative on www.MoMAPS1.org that invites artists to present their artwork and studios online. Over 750 Studio Visit submissions were reviewed by the curatorial team.

LIST OF ARTISTS

Michele Abeles, David Adamo, Ei Arakawa, An Atlas of Radical Cartography, Tauba Auerbach, Darren Bader, Kerstin Brätsch, Da vid Brooks, The Bruce High Quality Foundation, Leidy Churchman, Deville Cohen, Brody Condon, Caleb Considine, William Cordova, Delusional Downtown Divas (Joana Avillez, Lena Dunham, Isabel Halley), DETEXT, Debo Eilers, Franklin Evans, LaToya Ruby Frazier, Zipora Fried, Daniel Gordon, Tamar Halpern, K8, Hardy, Tommy Hartung, Sharon Hayes, Vlatka Horvat, Matt Hoyt, Alex Hubbard, Alisha Kerlin, Liz Magic Laser, Deana Lawson, Leigh Ledare, Dani Leventhal, Kalup Linzy, Tala Madani, Nick Mauss, Ryan McNamara, Dave Miko, Amir Mogharabi, Sam Moyer, Nico Muhly, Rashaad Newsome, Dominic Nurre, Brian O’Connell, Alice O’Malley, Virginia Overton, Adam Pendleton, Maria Petschnig, Zak Prekop, Ishmael Randall-Weeks, Gilad Ratman, Lucy Raven, robbinschilds, Mariah, Robertson, Adele Röder, Emily Roysdon, Aki Sasamoto, David Benjamin Sherry, Erin Shirreff, Xaviera Simmons, A.L. Steiner, Elisabeth Subrin, Hank Willis Thomas, Naama Tsabar, Guido van der Werve, Conrad Ventur, Amy Yao, Pinar Yolacan

'GREATER' VISION OF CONTEMPORARY ART

by Pia Catton

http://online.wsj.com/article/SB10001424052748703559004575256393420879712.html?mod=WSJ_NY_Culture_LEFTTopStories#

Opening: 28 September 2012

Exhibtion: 29 September – 7 december 2012

The title is borrowed from television language, and here it refers to some artists who, more often, consider reality as the core of their research. According to their starting point, the idea is always to use materials, which are very easy to find in daily life, in order to do detournement of  reality itself.

The artists have been chosen on the strength of Stanislao di Giugno's personal taste, and the choice is not releted to a general tendency, but it is concentrated on a group of artworks selected on his own personal will. Although we can notice a common attitude whose goal is to alterate reality, in each artwork we can detect a strong will, a real effort to finds a formal and conceptual solution, new and satisfying, which can be releted to expressionism, or to minimal art, which has been done through movements or combinations, in order to give back visions  which are different from the starting point.

What really combines all those artists is a variety of points of view: a distorted gaze that sometimes is confused and other is synthetic and dazed, which, as they were selfportraits, they tranforms into personal, imagines and other things which otherwise would be conventional, taken from a unique vision and from the neverending flux of images from reality.

This behaviour doesn't free itself from the research of a style, of the beauty, of the internal armony, which seems worried only about formal elements, related to a practice which could seem anachronistic, this attitude which doesn't look interested about social, political and economic questions dissimulates, in Di Giugno's opinion, a way of operating which is very honest, that we can define not so strong, neither straight, but very critic about reality as well.

There is a will to upset all the pre-established data, and for Di Giugno this is  exceptional. This is a strength of will, that doesn't want to accept anything which is considered usual or acquired. This is a political behaviour which doesn't rave, which is not shoking, but silently insinuates a woodwarm into society which is more difficult to dig out.

Galleria Tiziana Di Caro

Via delle Botteghelle, 55, Salerno – 84121

+39 0899953141

www.tizianadicaro.it

info@tizianadicaro.it