Schiavo Mazzonis Gallery

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 main exhibition Fokus Lodz Biennale 2010 entitled From the Liberty Square to Independence Square will be taking place in the public space in several dozen exhibition areas along the whole span of Piotrkowska Street. All the exhibition areas are accessible to the public starting from September 11, 11am.

Rosa Barba, Simona Barbera, Ivan Bazak, Gudjon Bjarnason, Cezary Bodzianowski, Laura Bruce, Marta Chilindron, Tacita Dean, Cao Fei, Dani Gal, Erika Harrsch, Fabrice Hyber, Ran Hwang, Zuzanna Janin, SoYoun Jeong, Kennedy Browne, Thomas Kilpper, Miru Kim, Grzegorz Klaman, Daniel Knorr, Kitty Kraus, Piotr Kurka, Kamil Kuskowski, Wojciech Leder, Via Lewandowsky, Kalin Lindena, Jong Il Ma, Ati Maier, Daniel Malone, Angelika Markul, Anna Molska, Robert C. Morgan, Marina Naprushkina, Sarah Ortmeyer, Gabor Osz, Alexandre Perigot, Dan Perjovschi, Joyce Pensato, Dodi Reifenberg, Ragna Robertsdottir, Tomas Ruller, Karin Sander, Ward Shelley, Tavares Strachan, Nahum Tevet, Luc Tuymans, TWOZYWO, Tomas Vanek, Marek Wasilewski, Clemens von Wedemeyer & Arthur Zalewski, Zorka Wollny & Anna Szwajgier, O Zhang, Piotr Zylinski

Fokus Lodz Biennale is an international and interdisciplinary event dedicated to contemporary art. It is based on the ideas of the legendary "Construction in Process"- a series of exhibitions initiated by the artist Ryszard Wasko and organized by the international community of artists in the 80s and the 90s all over the world. The Biennale will take place in the public space, along the Piotrkowska Street, which will be changed into an open studio. A direct participation of the artist on site is vital. The works will be created during the so-called "workshop days". Citizens of Lodz, visitors, art-lovers and tourists, students and art critics will not only be able to observe artists during their work, but also to participate in the creative process.

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#