Almine Rech Gallery

The exhibition will present a wide array of work from contemporary artists that tackle painting from various perspectives, using both traditional and unconventional techniques and media in their approach to the discipline. Exploring various ways that the definition of painting is continuously evolving, the project seeks to expand the traditional parameters of painting, sculpture, and installation: blurred, deconstructed, and refigured.

Three overlapping themes permeate the exhibition: the representation or metaphor of the body/self, memory and the passing of time, and the depiction and negotiation of spatial environments and architectural structures. Subjects will be explored, investigated, and highlighted through the juxtaposition and placement of these paintings within the site-specific context of the historic bank, built in 1905, which is still a cornerstone of Downtown Los Angeles.

Artists include Rita Ackermann, Kevin Appel, Jennifer Boysen, Sarah Cain, N. Dash, Matias Faldbakken, Kim Fisher, Barnaby Furnas, Alexandra Grant, Matt Greene, Mark Hagen, David Hendren, Julian Hoeber, Rashid Johnson, Jacob Kassay, Olga Koumoundouros, Jim Lee, Nate Lowman, Allison Miller, Sam Moyer, Amanda Ross-Ho, Analia Saban, Kate Shepherd, Gary Simmons, Vincent Szarek, Britton Tolliver, Kon Trubkovich, Monique van Genderen, and Bobbi Woods.

www.nomadicdivision.org

Works by following artists will be presented at our booth:

Matthias Bitzer
Sergey Bratkov
Johan Creten
Vincent Geyskens
Mark Hagen
Gregor Hildebrandt
Patrick Hill
Erik Lindman
Ida Tursic & Wilfried Mille
Peter Peri
Ugo Rondinone
Matthieu Ronsse
Taryn Simon 
Katja Strunz
Angel Vergara
Franz West

for more information: contact.brussels@alminerech.com

Under the title DREHMOMENT (VIEL ZEIT, WENIG RAUM) Katja Strunz has created a spatial composition which consists of two differently folded monumental metal objects. Hereby she continues the theme of collapse and folding of time and space and transfers it to the hall of Berlinische Gallery.

The prize is a reconceived edition of the “Vattenfall Kunstpreis Energie”, instituted in 1992 and since awarded annually. In 2010 it was redesigned together with the Berlinische Galerie. It has since been bestowed on artists of international renown living and working in Berlin. The award entails a personal exhibition at the Berlinische Galerie, the production of an exhibition catalogue and a purchase for the Vattenfall collection. Previous winners were Julian Rosefeldt (2010), Angela Bulloch (2011) and Michael Sailstorfer (2012).

The members of the Jury were: Petra Roettig (Gallery of Contemporary Art, Hamburger Kunsthalle), Michael Sailstorfer (winner of Vattenfall Contemporary 2012), Thomas Köhler (Director of the Berlinische Galerie), Heinz Stahlhut (Head of the Fine Arts Collection, Berlinische Galerie),  Torsten Meyer (management of Vattenfall), Anne-Katrin Reinecke (manager of Local Partnerships Benelux, Central Europe, Nordic, Vattenfall)

www.berlinischegalerie.de

Lens is Los Angeles born and based artist Alex Israel’s first sculpture that has been made, not rented. The sculpture’s industrially machined form, high-polished plastic materiality and relationship to the Southern California sunshine link it to the history of LA art and design: the Finish Fetish or Cool School, Light and Space, Aerospace and Oliver Peoples. Works by Larry Bell, Robert Irwin and DeWain Valentine in particular come to mind, yet Israel’s work is not abstract.

 
In 2012, Israel’s Freeway sunglasses became part of his signature look for As It Lays, a televisual talk-show made for the internet in which the artists asks twenty questions each to a series of LA residents he terms “groundbreakers, iconoclasts, eccentrics.” In As It Lays, Israel’s sunglasses are key to the construction of the artist’s inscrutable image.
 
Lens, as a presence, is imposing and immovable, a monument to LA cool. It is simultaneously reflective and transparent, a self-evident work that meditates on life under a constant, perfect sun.

(Image: Alex Israel, billboard mockup; Courtesy of the artist)

Human Nature is a stark contrast to its highly developed architectural surroundings in Midtown Manhattan. The irregular natural surfaces of the stone are left bare, while the human figure—perhaps the original artistic subject—is represented as a simple yet imposing composition, defined by its towering legs, massive torso, and boulder-like head. Archaic and enduring forms, these colossal figures will invite visitors to wander amongst their legs and touch their rough-hewn surfaces.

Read more: www.publicartfund.org

Il est de toutes les Biennales. De celle de Busan en Corée du Sud (2008) à celle de Lyon (2007), sans oublier celle de Venise (2005), toujours la référence du monde de l'art. Ses assemblages de charpentes, d'huisserie, de boiseries récréent un concentré d'architecture islamique et de son répertoire décoratif qui unissent des territoires fort différents. Étoiles, répétitions mathématiques d'un motif géométrique, camaïeux délicats... Al-Andalus l'a conjugué à la perfection dans ses azulejos de Grenade qui répètent le jeu infini du cosmos. 

Crédits photo : Merely a Mistake II, 2009-2013, installation de Liu Wei, photo courtesy of Sharjah Art Foundation

www.lefigaro.fr

Hasegawa was inspired by the courtyard in Islamic architecture, in particular the historical courtyards of Sharjah, where elements of both public and private life intertwine, and where the objective political world and the introspective subjective space intersect and cross over.

The courtyard is also seen as a plane of experience and experimentation—an arena for learning and critical thinking of a discursive and embodied kind. It marks a generative space for the production of new awareness and knowledge. Within the network of intensifying international and globalising links, the courtyard as an experiential and experimental space comes to mirror something of Sharjah as a vital zone of creativity, transmission, and transformation.

For Sharjah Biennial 11, Hasegawa has selected more than 100 artists, architects, filmmakers, musicians and performers whose artworks and practices resonate with strands of the curatorial theme: the complexity and diversity of cultures and societies; spatial and political relations; notions of new forms of contact, dialogue, and exchange; and production through art and architectural practices of new ways of knowing, thinking, and feeling. With more than 35 new commissions, SB11 will unfold in sites across the city and will mark the inauguration of SAF’s five new art spaces.

The SB11 Opening Week Programme will begin with the opening on March 13, 2013, followed by the evening Biennial Awards ceremony. A full schedule of events March 13 – 17 will include performances, films, lectures, and the annual March Meeting, a symposium featuring thematic sessions and moderated panel discussions that will reflect on and contexualise the concept of SB11.

www.sharjahart.org

Works by following artists will be presented on our booth:

ZIAD ANTAR
MATTHIAS BITZER
JOHAN CRETEN
GREGOR HILDEBRANDT
ISAAC JULIEN
IDA TURSIC & WILFRIED MILLE
ANSELM REYLE
HASSAN SHARIF
HEDI SLIMANE
TARYN SIMON
LIU WEI

From atmospheric installations to intangible sculptures that you can move around - and even through - visitors can experience light in all of its spatial and sensory forms. Individual artworks explore different aspects of light such as colour, duration, intensity and projection, as well as perceptual phenomena. They also use light to address architecture, science and film, and do so using a variety of lighting technologies.

Light has the power to affect our state of mind as well as alter how we perceive the world around us, and Light Show includes some of the most visually stimulating artworks created in recent years. It also includes rare works not seen for decades and re-created specially for the Hayward Gallery.

Light Show features works by 22 artists including David Batchelor, Jim Campbell, Carlos Cruz-Diez, Bill Culbert, Olafur Eliasson, Fischli and Weiss, Dan Flavin, Ceal Floyer, Nancy Holt, Jenny Holzer, Ann Veronica Janssens, Brigitte Kowanz, Anthony McCall, François Morellet, Iván Navarro, Philippe Parreno, Katie Paterson, Conrad Shawcross, James Turrell, Leo Villareal, Doug Wheeler and Cerith Wyn Evans. The exhibition is curated by Dr Cliff Lauson, Hayward Gallery Curator.

An American Index of the Hidden and Unfamiliar was first exhibited in 2007 at the Whitney Museum of Art in New York. This body of work delves deep into modern American culture through a photographic investigation, which exposes hidden truths about present-day America. Over a period of four years, Simon scouted remote and restricted objects, sites and spaces across the USA that are integral to America’s foundation, mythology, or day to day functioning but remain inaccessible or unknown to the public. The artist compiled an inventory of these unseen subjects that looks beyond the surface of American culture and confronts the divide between those with and without the privilege of access. The images range from radioactive capsules at a nuclear waste storage facility, a black bear in hibernation to the art collection of the CIA, all of which are presented alongside text, which highlights the artist’s dual role as voyeur and informant.

Simon’s curiosity about the layers that create a national identity is extended to the more recent photographic series, Contraband, first exhibited in 2010. Simon dedicated five days in November 2009 to fully immerse herself into the unique space of John F. Kennedy International Airport in order to heavily document the border between America and the rest of the world. The outcome was a vast collection of 1075 images of over 1000 items detained or seized from passengers and mail entering the United States. Simon used a labor-intensive, forensic photographic procedure to document a broad array of forbidden items, which include among others the active ingredient found in Botox, counterfeit clothes and designer accessories, pharmaceuticals, jewelry, Cuban cigars, animal parts, pirated DVDs and gold dust. Each item was photographed against a neutral grey background, producing an objective scientific record, devoid of context and transformed into an artifact of the larger global network. Simon witnessed patterns of international commerce, exposing both the demands that drive the international economy as well as the local economies that produce them.

http://pavilion.ae

C’est sans doute là que l’engagement des commanditaires et de leurs invités trouve sa pleine et entière réciprocité. La force des espaces et leur emprise sur les œuvres conduisent bien ici à une « expérience » différente et par maints aspects, incomparable. À l’occasion de ces dix ans, Nathalie Vranken, initiatrice du projet, a souhaité inviter Bernard Blistène, Directeur du département du développement culturel du Centre Pompidou, lequel s’est attaché à développer son projet avec la complicité amicale de Jean-Marie Gallais. 

Paul and Elizabeth, the tragic heroes of Jean Cocteau’s Les Enfants terribles (translated in English as The Holy Terrors), hover about in the background as the mythical duo that has inspired the show. They live in the reclusion of sundry rooms which they fill with treasures, fantasies and imagination, a setting that pitches to and fro and reflects the psychological turmoil of these two teenagers who are adrift in the world.

Bringing together a selection of works by artist duos, «Terrible Two» is an attempt at a fictional free adaptation in the form of an art exhibition and in the architectural setting of the Villa du Parc.

www.villaduparc.com

Although inherently linked to research on perspective, carried out during the Renaissance, the window has constantly been reinterpreted throughout different historical periods and artistic movements. Until the end of the 19thcentury artists used its frame to guide our eyes towards ideal landscapes, realist panoramas, or, on the contrary, to allow light to filter indoors. Many artists have subsequently integrated the window and its reflections in order to blur the limits between interior and exterior. With its origins as a simple decorative element, the window has gradually become a subject in itself. The window’s opening, frame, light, and sometimes the windowpanes, allow multidisciplinary artists to explore new territories, some of which have led to the discovery of an abstract and minimalist art.

This thematic path spanning 500 years of art history includes major artists such as Dürer, Dou, Constable, Monet, Hammershøi, Munch, Delaunay, de Chirico, Mondrian, Jawlensky, Matisse, Duchamp, Vallotton, Ernst, Bonnard, Vuillard, Klee, Delvaux, Picasso, Balthus, Rothko, Scully among many others. Paintings, engravings, photography and video installations create a full panorama of this compelling theme which transcends various styles and historical periods.

www.fondation-hermitage.ch

The focus of the thematically structured presentation is the Kombi- Werke [combi-works]. These are mainly installative works in which West repeatedly combined a number of individual pieces into new groups. The combination and recombination of various categories of works such as furniture, sculpture, Passstücke [adaptives], videos, or works on paper, from different creative periods, gives an overview of the whole spectrum of his œuvre.

Thus at the beginning of the exhibition the viewer encounters theGenealogie des Ungreifbaren [The Genealogy of the Intangible] from 1997 in which West shows three of his early Passstücke combined with one of his first chairs in a vitrine. Combi-walls will also be exhibited. For these West collected together diverse works on paper but also sculptural pieces and, with the addition of pieces of furniture, these expand to become room-filling installations as in the case of Kasseler Rippchen. West also repeatedly included works by other artists in this process.

One of the central exhibits is the papier-mâché sculptureRedundanz. It consists of three parts and can be regarded as a significant example of West’s early practice of combination and recombination. First shown in 1986, the artist considered it necessary to supplement the work with another sculpture since one part of the work had been sold against his will. The new version bears the title Reduktion. Since 2011 the mumok collection includes both versions of this work.

Visitors encounter one of West’s Lemuren [Lemurs] outside the mumok. These are head-like forms made of aluminium with over-sized openings for mouth and nose. On the top floor there are two large aluminium sculptures – one of which is almost six metres high – which West designed but which were not executed until after he died.

Franz West’s work is fundamentally participative in its approach, it seeks dialog with its recipients. The artist considered all his creations as invitations to interact and the varied reactions as a necessary and integral part of each work, the meaning of which was thereby continuously subject to change. The principle of combination and/or recombination is commensurate with his conviction that the meaning of a statement – or a pictorial element – can never be fixed or clearly defined but is repeatedly (re)constituted depending on its context and the recipient.

www.mumok.at

This exhibition, conceived as a daydream trip between sound and visual dimensions of the selected art works, proposes to consider different aspects of musical experimentation through a specific set-up, proper to parties and raves in the 90’s, and which can be considered nowadays as “archeological” : the Chill out. In the 90’s, the Chill out was organised as space for listening, full of mattresses and cushions, inside the party, a room where ambient music with no beats was endlessly played. Nowadays, the chill out is a bridge to explore possible links between art practices and dancefloor culture.

One floor of the exhibition will be activated during as a space of musical experimentation and for sharing space-time during the festival. The installation conceived by par Frédéric Post will open at 5am to become Electron’s Chill out.

www.electronfestival.ch
www.electronfestival.ch/sylviefleury

 The exhibition is further enhanced by two new commissioned works by Nic Hess and Luca Trevisani, which will appear in specific areas of the museum. Alongside the Daimler exhibition there will be another exhibition dedicated entirely to Italian art, which is titled From De Chirico to Cattelan, featuring works of the last century, which have been acquired by public and private collections in Brescia. In the history of Museo di Santa Giulia, Novecento mai visto will be the first comprehensive presentation of contemporary art.

www.sammlung.daimler.com

The exhibition aims to demonstrate Gutai’s extraordinary range of bold and innovative creativity; to examine its aesthetic strategies in the cultural, social and political context of postwar Japan and the West; and to further establish Gutai in an expanded, transnational history and critical discourse of modern art.

Organized thematically and chronologically to explore Gutai’s unique approach to materials, process and performativity, Gutai: Splendid Playground explores the group’s radical experimentation across a range of media and styles, and demonstrates how individual artists pushed the limits of what art could be or mean in a post-atomic age. The range includes painting (gestural abstraction and post-constructivist abstraction), conceptual art, experimental performance and film, indoor and outdoor installation art, sound art, mail art, interactive or “playful” art, light art and kinetic art. The Guggenheim show comprises some 120 objects by 25 artists on loan from major museum and private collections in Japan, the U.S. and Europe, and features both iconic Gutai and lesser-known works to present a rich survey reflecting new scholarship, especially on so-called “late Gutai” works dating from 1965–1972. Gutai: Splendid Playground is organized by Ming Tiampo, Associate Professor of Art History, Carleton University, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Guggenheim Museum.

www.guggenheim.org

«Collection on Display» presents selected works from the collection of the Migros Museum für Gegenwartskunst. The first two presentations from the collection to be held in 2013 continue the exhibition cycle on contemporary sculptural praxis launched last year. The works by Heidi Bucher, Thea Djordjadze, Berta Fischer, Loredana Sperini, and Katja Strunz on display in the second chapter of the exhibition examine the status of sculpture and the ways it is perceived, and reflect the history and transformations of sculptural praxis. In recent years, issues of sculpture have been a major focus of the exhibition programming at the Migros Museum für Gegenwartskunst and the museum’s efforts to enlarge its collection. The threepart presentation of works from the collection brings together works that raise questions concerning the possibilities of sculptural production. As a genre, sculpture—whether figural or abstract— occupied a central position in the history of art from the classical age to the modernist era. As the art historian Rosalind Krauss has argued, since the onset of postmodernism, the conception of sculpture has been expanded as its boundaries have become blurry—sculpture has quite literally been knocked off its pedestal. Sculptural work has expanded into a variety of media and materials, exploring the possibilities of space.
The second chapter unites works distinguished by their critical engagement with different materials and their specific connotations and potentials. The five artists whose works will be on display in this chapter use fragile materials evincing traces of use, but also everyday staples and organic matter, exploring their sculptural qualities.

The presentations from the collection are curated by Judith Welter (collection conservator, Migros Museum für Gegenwartskunst).

www.migrosmuseum.ch

Borrowed from the closing line of James Joyce’s novel Ulysses, the title also serves as a pretext to proclaim, over and over again, a feeling of jubilation with regard to painting. A video compilation like a celebrity casting is used as a canvas for an emancipated approach to painting.

www.filmfestivalrotterdam.com

On the occasion of the major New York exhibitions “Gutai: Splendid Playground,” opening this month at the Solomon R. Guggenheim Museum, and “Tokyo 1955–1970: A New Avant-Garde,” at the Museum of Modern Art, six distinguished contributors reflect on this vital field marked by violence, guilt, and repression as much as by technological and capitalist utopias, examining some of its little-known but no less seminal participants.

artforum.com

In An American Index of the Hidden and Unfamiliar, Taryn Simon compiles an inventory of what lies hidden and out-of-view within the borders of the United States. The series reveals objects, sites, and spaces that are integral to America’s foundation, mythology, or day to day functioning but remain inaccessible or unknown to a public audience. These unseen subjects include radioactive capsules at a nuclear waste storage facility and the art collection of the CIA. Simon examines a culture through documentation of subjects from domains including: science, government, medicine, entertainment, nature, security, and religion. She confronts the divide between those with and without the privilege of access.

Taryn Simon’s artistic medium consists of three equal elements: photography, text, and graphic design. Simon’s works investigate the impossibility of absolute understanding and open up the space between text and image, where disorientation occurs and ambiguity reigns. Some of her other works include A Living Man Declared Dead and Other Chapters I-XVIII, which was produced over a four-year period (2008-11), during which the artist travelled around the world researching and recording bloodlines and their related stories. Contraband (2010), is an archive of global desires and perceived threats, presenting 1,075 images of items that were detained or seized from passengers and mail entering the United States from abroad. The Innocents (2003) documents cases of wrongful conviction in the U.S., calling into question photography’s function as a credible witness and arbiter of justice. 

Taryn Simon was born in New York in 1975. Her works have been the subject of monographic exhibitions at institutions including Museum of Modern Art, New York (2012); Tate Modern, London (2011); Neue Nationalgalerie, Berlin (2011); Whitney Museum of American Art, New York (2007); Museum für Moderne Kunst, Frankfurt (2008); Kunst-Werke Institute for Contemporary Art, Berlin (2004); and P.S.1 Contemporary Art Center, New York (2003). Permanent collections include the Metropolitan Museum of Art, Tate Modern, Whitney Museum, Centre Pompidou, and the Los Angeles Museum of Contemporary Art. In 2011 her work was included in the 54th Venice Biennale.

Curator: Dragana Vujanovic, Hasselblad Foundation

www.hasselbladfoundation.org

His exhibition at MAGASIN will point up the monumentality of the central space under roof, called la Rue which will be the place of a specific work realized for this occasion. The galleries space will gather existing works and will be an overview of Anselm Reyle’s oeuvre.


On the occasion of these two exhibitions, a catalog will be published by Distanz Verlag and boasts countless illustrations, including many images of the installations at MAGASIN, and essays by David Ebony and Dirk Luckow as well as an interview Friedrich von Borries conducted with Anselm Reyle. The book will be published in trilingual version (in English, French and German).

Born in 1970 in Tübingen, Germany, Anselm Reyle studied Fine Arts in Stuttgart and Karlsruhe. Since 1997, he lives and works in Berlin and teaches since 2009 at the Fine Art School of Hamburg.

Curator of the exhibition: Yves Aupetitallot
www.magasin-cnac.org

The Bolzano museum is the only venue in Italy to present the works from Migros, which during its recent remodel has sent its collection on tour, exhibiting it in various European venues, from the Kunsthalle in Krems to the Kunstmuseum in Lichtenstein and the  Fridericianum in Kassel.

Museion presents the work of fourteen artists, including installations, sculptures, video and photography: Tom Burr, John Baldessari, Elmgreen & Dragset, Urs Fischer, Delia Gonzalez & Gavin Russom, Rachel Harrison, David Lamelas, Cady Noland, Bojan Šarčević, Tatiana Trouvé, Franz Erhard Walther and Cathy Wilkes.

Migros and Museion: both museums have works in their collections that engage with some of the key movements and themes of the art of the last century. The “sacrality” of these movements is however undermined by the “remix” effect, appropriating and recombining the art languages of the past. Minimalism and Functionalism, Pop Art and Conceptual Art are all part of the vocabulary of many of the featured artists, whose works lend these movements new meanings and remix them with the utmost freedom.

Curated by Letizia Ragaglia in collaboration with Heike Munder and Judith Welter (Migros Museum für Gegenwartkunst, Zurich)

www.museion.it

Our exhibition poses the question "What is the legacy of Cubism in the hundred years since the Armory Show's radical display of modern European and American art, and especially, how has this become relevant again in our digital age?" The show will exhibit a core group of artworks in the gallery, and also feature a corresponding iInternet component of digital works in an online gallery.

Artists: Cory Arcangel, Tony Cokes, Douglas Coupland, David Kennedy Cutler, N. Dash, Michael Delucia, Jessica Eaton, Franklin Evans, Amy Feldman, Andrea Geyer, David Gilbert, Ethan Greenbaum, Gregor Hildebrandt, Butt Johnson, John Houck, Barbara Kasten, Andrew Kuo, Liz Magic Laser, Douglas Melini, Ulrike Mohr, Brenna Murphy, John Newman, Gabriel Orozco, Rafaël Rozendaal, Seher Shah, Travess Smalley, Sara VanDerBeek

www.abronsartscenter.org

 Xavier Douroux, commissaire de l’exposition, a choisi des grands noms de l’art contemporain — Yayoi Kusama, Thomas Houseago ou Ugo Rondinone, entre autres — pour bousculer une dizaine d’espaces dans la ville. La Cour de l’Hôtel de Ville, la fontaine de la Rotonde, le Cours Mirabeau, le Grand Théâtre de Provence, le Pavillon Vendôme ou encore le Palais de Justice vivent une métamorphose surprenante qui amène visiteurs et habitants à reconsidérer les espaces du vivre-ensemble. La Capitale est lancée avec un parcours qui met « L’art à l’endroit » !

Artistes : Marc-Camille Chaimowicz, Mark Handforth, Thomas Houseago, Rachel Feinstein, Kimsooja, Yayoi Kusama, Jorge Pardo, Huang Yong Ping, Ugo Rondinone, Sofia Taboas, Xavier Veilhan, Franz West.
Commissariat : Xavier Douroux.

www.mp2013.fr

 Une quarantaine d’artistes issus des pays du pourtour de la Méditerranée ont été choisis sur leur aptitude à nous repenser en êtres aux identités plurielles, en perpétuel devenir, et sur leur capacité à investir le réel en une réflexion critique. Ils appartiennent pour la majorité d’entre eux à la génération née dans les années 1960-1970 et jouissent d’une reconnaissance sur la scène internationale. Parmi les oeuvres exposées dont un grand nombre de propositions inédites, conçues pour l’exposition, quelques-unes traitent du paysage méditerranéen. Elles sont nombreuses à interroger les notions d’identité, de citoyenneté, du même et de l’autre. Plusieurs s’attachent à transmettre l’expérience de l’émigration, de l’exil et du déracinement. Elles offrent aussi une vision de l’histoire au présent, par le biais de l’articulation de récits personnels à l’histoire. En prise avec les réalités sociales, politiques et géopolitiques, elles nous informent de l’état du monde, en explorent ses mutations à venir.

39 artistes de renommée internationale
38 projets dont 28 produits spécialement (6 Ateliers de l’EuroMéditerranée) 
2400 m² d’exposition. Peinture, photographie, sculpture, installations vidéo 
Inauguration de la Tour-Panorama, un nouveau lieu de diffusion dédié à l’art contemporain

Artistes : Etel Adnan, Ziad Antar, Fikret Atay, Kader Attia, Fayçal Baghriche, Lara Baladi, Gilles Barbier, Yto Barrada, Taysir Batniji, Mohamed Bourouissa, Danica Dakic, Inci Eviner, Ymane Fakhir, Mounir Fatmi, Lara Favaretto, Gloria Friedmann, Joana Hadjithomas et Khalil Joreige, Mona Hatoum, Mouna Karray, Bouchra Khalili, Djamel Kokene, Jannis Kounellis, Sigalit Landau, Ange Leccia, Annette Messager, Jean-Luc Moulène, Youssef Nabil, Orlan, Yazid Oulab, Adrian Paci, Javier Pérez, Sarkis, Hrair Sarkissian, Zineb Sedira, Wael Shawky, Djamel Tatah, Stefanos Tsivopoulos, Akram Zaatari

Commissariat : Juliette Laffon. 
Production : Marseille-Provence 2013

www.mp2013.fr

The Jury was impressed by Katja Strunz’s masterful treatment of space, which she has already demonstrated at a number of exhibitions. This experience will enable her, in the Jury’s opinion, to conquer the challenge presented by the exhibition hall at the Berlinische Galerie, which is 10 metres high and 40 metres long. Her reflected references to constructive avant-garde forms, combined with an awareness of the transitory nature of art, convinced the Jury that this is an independent position within contemporary art. 

An exhibition will be organized at Belinische Galerie, Berlin, from April 26th to September 2nd, 2013

More informations

She chose a wide variety of subjects, including feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein's son Uday, and the "living dead" in India. This collection is at once cohesive and arbitrary, mapping the relationships among order, chaos, genetics, and other components of fate. In addition to the Corcoran, A Living Man Declared Dead and Other Chapters has traveled to Tate Modern, London; Neue Nationalgalerie, Berlin; and the Museum of Modern Art, New York.

www.corcoran.org

Lost Line uses Orozco’s fragile and mutable form as premise to bring together works from the collection, including large-scale sculpture and painting installations, film, photography, and works on paper. The works in gathered in the exhibition share a desire to complicate typical representations of landscape, the built environment, and the monumental. 

Artists include Uta Barth Ingrid Calame, Lecia Dole-Recio, Shannon Ebner, Harold Edgerton, Llyn Foulkes, Mark Flores, Buckminster Fuller, Mark Hagen, Alfred Jensen, Barbara Kasten, Jim Lambie, David Lamelas, Steve McQueen, Yunhee Min, Ruben Ochoa, Claes Oldenburg, Dennis Oppenheim, Gabriel Orozco, Sheila Pinkel, Ed Ruscha, Analia Saban, Erin Shirreff, Robert Smithson, Frances Stark, Koen van den Broek, and James Welling.

www.lacma.org

LA PLATEFORME PARIS PHOTO

14h30-16h: La fluidité et l'« impureté » du médium photographique David Campany (auteur et Maître de conférence en photographie à l'Université de Westminster, Londres)
Jean-François Chevrier (Professeur en histoire de l'art contemporain à l'École nationale supérieure des beaux-arts de Paris)
David Joselit (Professeur en histoire de l'art à l'Université de Yale).
Michelle Kuo (Rédactrice en chef au magazine Artforum International, New York) Discussion animée par Roxana Marcoci.

16h30-18h Usage du document photographique, processus d'appropriation de l'image, travail d'archivage et de reconstruction historique
Adam Broomberg (artiste)
Oliver Chanarin (artiste)
Urs Stahel (Directeur du Fotomuseum Winterthur)
Akram Zaatari (artiste)
Discussion animée par Roxana Marcoci et Paul Holdengräber.

18h30- 19h30 Lecture interactive
Taryn Simon (artiste)
Lecture animée par Marta Gili (directrice du Jeu de Paume, Paris)

www.parisphoto.com

Recently, Johan Creten has been the recipient of much international recognition and the Museum Dhondt-Dhaenens is therefore very happy to be the first Belgian museum to present a solo exhibition of his work. Johan Creten presents an exhibition in which very recent and older sculptures are placed in dialogue, using both the garden and the interior spaces of the museum.

www.museumdd.be

Opening on Tuesday, October 16 from 12pm (by invitation only)
Public Opening Hours: From Wednesday October 17 to Sunday October 21 / 7:30am - 7:30pm

www.fiac.com

Image Atlas interrogates the possibility of a universal visual language and questions the supposed innocence and neutrality of the algorithms upon which search engines rely.

The New Yorker, Culture Desk, " Taryn Simon's Visual Babel":

"Image Atlas highlights cultural differences and similarities, and questions the possibility of a universal visual language. In some searches it presents a flattening and in others it highlights the inevitability of contrast. And then there are the scrambled moments-like, I typed in the word "jew." The results yielded a crude caricature that seems to have circulated in many countries. In Syria, it presented Obama in a yarmulke, and then in Germany it was all photos of Jude Law, because Jew in translation is "jude," and clearly "jude law" is getting more hits than "jew" within those borders right now. As people move farther away from verbal communication (Instagram, etc.), it's worth questioning if visual communication is subject to the same issues of translation and misinterpretation found in verbal communication." 

Read more: The New Yorker | Taryn Simon's Visual Babel 

Works by following artists will be presented on our booth:

Matthias Bitzer
Don Brown
Tom Burr
Beatrice Caracciolo
Aaron Curry
Joel Morrisson
Peter Peri
Ugo Rondinone
Taryn Simon
Gavin Turk

http://galleristny.com

Simon's project is divided into 18 chapters, nine of which will be presented at MoMA. Each chapter is comprised of three segments: one of a large portrait series depicting bloodline members (portrait panel); a second featuring text (annotation panel); and a third containing photographic evidence (footnote panel).

A Living Man Declared Dead and Other Chapters I–XVIII exploits photography's capacity to at once probe complex narratives in contemporary politics and organize this material according to classification processes characteristic of the archive, a system that connects identity, lineage, history, and memory.

www.moca.org

La proposition artistique de Kosuth, chef de file de l’art conceptuel, déroule en lettres lumineuses une citation du philosophe Michel Foucault, qui évoque le passage de la parole à l’écrit : « Au moment où le langage, comme parole répandue, devient objet de connaissance, voilà qu’il réapparaît sous une modalité strictement opposée, silencieuse, précautionneuse déposition du mot sur la blancheur du papier, où il ne peut avoir ni sonorité ni interlocuteur, où il n’a rien d’autre à dire que soi, rien d’autre à faire que scintiller dans l’éclat de son être ».

6 octobre 2012, de 19h à 7h
Quai François Mauriac, Paris 13ème
BNF, Tour 3

www.nuitblanche.paris.fr

"Portraiture: Celebrity and Power" looks at Warhol's engagement with portraiture to illuminate contemporary artists' continuing interest in the issues of fame or infamy in the age of the tabloid. Here the best of Warhol's notable portraits of celebrities are paired with contemporary examples by Elizabeth Peyton, Karen Kilimnik, and Cindy Sherman. Warhol's practice of society portraiture of the 1970s, as well as his artistic engagement with political figures, is explored here through links with the work of artists who take this practice in new directions.

"Queer Studies: Shifting Identities" outlines Warhol's importance as an artist who broke new ground in representing issues of sexuality and gender in the post-war period. This section also strives to represent a new openness toward different varieties of queer identity that Warhol's oeuvre ushered in, largely through work by photographers such as Richard Avedon, Peter Hujar, Christopher Makos, Robert Mapplethorpe, and Catherine Opie.

"Consuming Images: Appropriation, Abstraction, and Seriality"explores Warhol's formal strategies and groundbreaking use of pre-existing photographic sources, often endlessly repeated in grid patterns; his appropriation of art history; and his interest in abstraction. These works are grouped with Pictures Generation artists such as Richard Prince and Cindy Sherman for their uses of appropriation, or with contemporary painters such asChristopher Wool, whose patterned painting Untitled plays with all-over abstraction and seriality in Warholian ways.

"No Boundaries: Business, Collaboration, and Spectacle"—the final section of the exhibition—examines Warhol's interest in artistic partnership through filmmaking, magazine publishing, music, and design. Also foregrounded is his fascination with creating environments that envelop the viewer entirely. Warhol's frequent use of decorative motifs, such as flowers, are part of this practice, and are contrasted with similar work by artists such asJeff Koons and Takashi Murakami.

www.metmuseum.org

A 

These specially commissioned chess sets have been created by: 

Maurizio Cattelan, Jake and Dinos Chapman, Oliver Clegg, Tracey Emin, Tom Friedman, Paul Fryer, Damien Hirst, Barbara Kruger, Yayoi Kusama, Paul McCarthy,Alastair Mackie, Tim Noble and Sue Webster, Matthew Ronay, Tunga, Gavin Turk and Rachel Whiteread.

Each set is individually crafted in a wide variety of different materials including wood, porcelain, glass, amber and silver. 

www.saatchi-gallery.co.uk

 A l’image de projets tels que The Shop de Tracey Emin et Sarah Lucas à Londres, ou Food de Gordon Matta Clark à New York, le FORGOTTEN BAR PROJECT est un lieu vivant, en mutation permanente, une zone dédiée à l’énergie artistique et imaginé par et pour les artistes – dont la vitalité est invitée à investir le Palais de Tokyo.

« L’exposition au Palais de Tokyo sera certainement un étonnant paysage d’oeuvres dans la forêt de colonnes du sous-sol. Il ne s’agit pas de regarder en arrière, mais en avant, vers cet idéal, en ignorant ce qui est mauvais autour de nous ; non pas d’aller vers l’apocalypse mais vers le paradis. Nous ne pouvons pas nous permettre de perdre du temps à faire des choses dévastatrices. Au contraire, les idéaux doivent s’élever en temps de guerre, de désespoir et de dépression économique, et nous devrions nous efforcer de faire du monde un Jardin d’Eden. Ou bien renoncer. Je l’ai déjà dit, je pense que nous devrions fermer toutes les galeries, les musées et les bars pour aller élever partout des chèvres et des moutons. » 

Tjorg Douglas Beer

LE JARDIN D’EDEN 

Dans le Palais de Tokyo, la GALERIE UTOPIA / THE FORGOTTEN BAR PROJECT déploie, au coeur d’une forêt de colonnes, son installation The Garden of Eden (Le Jardin d’Eden). Paysage utopique, cette exposition est composée de plus d’une cinquantaine d’oeuvres d’artistes internationaux, enrichie par plus d’une centaine d’artistes ainsi que de commissaires invités par Tjorg Douglas Beer. Membres à part entière du projet, les visiteurs sont conviés à investir les espaces, à s’y asseoir, à prendre un verre, à rejoindre le dance floor. Un programme d’expositions, performances, et conférences suivies d’un dj set jusqu’à minuit animent le lieu chaque soir.

https://palaisdetokyo.com

A

This learning and research-based Institute invites other artists, writers, performers, filmmakers and thinkers from all over the world to discover and consider the work of a specific artist and to look at the broader context of contemporary art through the lens of this artist’s work.

Opening:
September 9th, 6-8pm
www.theartistsinstitute.org

Au centre de l’exposition, une installation lumineuse de James Turrell, Red Eye de 1992, est réactualisée spécialement pour l’exposition. Le spectateur pénètre un cube blanc pour faire l’expérience de l’immatérialité dans l’obscurité d’un espace d’où se détache un rectangle coloré. Cet environnement perceptuel sollicite nos sens et trouble notre rapport avec la réalité physique.

Daniel Buren, Ann Veronica Janssens, Mai-Thu Perret, Veit Stratmann, James Turrell, Felice Varini, Jessica Warboys

Commissariat : Hélène Audiffren

http://mrac.languedocroussillon.fr

A The Painter” at the Schirn focuses on the artist’s structural development as a painter. With motifs drawn from a diverse range of high and pop-cultural sources, his monumental painted works combine hyper-realistic and gestural elements to form complexes as compact in imagery as they are in content. In the show "Jeff Koons. The Sculptor” at the Liebieghaus, on the other hand, forty-four world-famous as well as entirely new sculptures by Jeff Koons enter into dialogues with the historical building and a sculpture collection spanning five millennia. Jeff Koons’s Antiquity, a new series in which he explores antique art and its central motif – Eros – will debut in Frankfurt on this occasion.

In his paintings and sculptures, Jeff Koons employs elements from the consumer world and "high culture” alike, quotes artistic epochs as readily as he does objects from everyday life and advertising, and thus draws our attention again and again to such categories as beauty and desirability. Within this context, he has become an unequalled master of the interplay between the sublime and the banal. Although his works quote familiar motifs from the consumer context, it is not for the sake of kitsch and irony. In an interview he commented: "I work with things that are sometimes referred to as kitsch, even if kitsch per se has never interested me. I always try to convey self-confidence, a certain inner sense of security, to the viewer. My chief concern in my work is the viewer.” Koons is interested "not in the complexity, but in the simplicity of being” and its acceptance. This aspect finds expression in his oeuvre in elementary themes such as childhood or sexuality. Contrary to the long tradition of subjectivity in art, however, Koons constantly emphasizes artistic objectivity, working in the tradition of the "ready-made.” Both his sculptures and his paintings have a particularly evocative and striking effect on the viewer through their exquisite craftsmanship and the lure of their surfaces.

Curators: Vinzenz Brinkmann (Liebieghaus Skulpturensammlung), Matthias Ulrich (Schirn Kunsthalle Frankfurt), and Joachim Pissarro (New York)

www.liebieghaus.de

A The SCHIRN presentation JEFF KOONS. THE PAINTER will focus on Koons’s structural development as a painter. In his monumental paintings—whose motifs draw upon the most varied sources of high and popular culture—both hyperrealistic and gestural features give rise to highly complex concentrations of image and content. By contrast, in the exhibition JEFF KOONS. THE SCULPTOR at the Liebieghaus, both world-renowned and new sculptural works by Koons will enter into a dialogue with the historic building and its collection spanning 5,000 years of sculpture.

Curators: Vinzenz Brinkmann (Liebieghaus Skulpturensammlung), Matthias Ulrich (Schirn Kunsthalle Frankfurt), and Joachim Pissarro (New York)

www.schirn.de

A

Our extensive presentation focuses on three central series of works – The New,Banality and Celebration – which represent crucial stages in Koons’s development and lead to the nucleus of his thinking and creative activity. The New comprises the ready-made-like cleaning appliances of his early period, symbols of newness and purity. Banality includes those traditionally crafted sculptures in porcelain and wood which have since become (post-)modern icons. Finally, in the Celebration series, on which Koons has been working for almost twenty years, appear high-gloss steel sculptures of unique material perfection, and large-format paintings in which the artist celebrates childhood in a veritably baroque way. Koons’s equally spectacular and subtle works are repeatedly concerned with themes such as innocence, beauty, sexuality and happiness. These reflect his conception of an art that is accessible to every viewer.

http://www.fondationbeyeler.ch

A l'occasion de cette nouvelle édition, Almine Rech Gallery invite la galerie Zink à présenter l'artiste d'orgine roumaine Veron Urdarianu. La galerie Zink, quant à elle, accueillera des travaux des artistes Ziad Antar, Mark Hagen et Peter Peri.

29.06.12-30.06.12
Ziad Antar, Mark Hagen & Peter Peri @ Galerie Zink
Vernissage le vendredi  29 juin / 16-21h
www.galeriezink.de

06.07.12-07.07.12
Veron Urdarianu @ Almine Rech Gallery
Vernissage le vendredi 6 juillet / 16-21h
www.alminerech.com

Pour plus d'informations: http://www.berlin-paris.fr/

A
 
Theatre of the World is a kaleidoscope: here the viewer sees the object, and that is enough. This notion harkens back to the Renaissance view that art and knowledge are inextricably intertwined. This art is visual poetry.
 
Theatre of the World has, as its backbone, the Tasmanian Museum and Art Gallery collection of Pacific barkcloths and Mona's collection of everything. Other sources are tapped when required to enhance the perceptual interplay, or on whim.
 
In the theatre of the world art is a conveyor of dreams, a mobilizer of imagination, and a conduit for emotion. When we find beauty sometimes we need look no further.

Curated by Jean-Hubert Martin.
A MONA and TMAG (Tasmanian Museum and Art Gallery) collaboration

http://mona.net

A
Burr's Screens are among his most iconic work: just like any folding screen they obstruct the view, but at the same time allow the viewer to glimpse what is behind them, thus alluding to the sexual sphere, as well as to ideas of seeing/being seen/hiding.
The title of the exhibition is an appropriation and re-elaboration of A Cloud in trousers, the long poem by the Russian writer Vladimir Mayakovsky, written in 1915, about the heated themes of love, revolution, religion and art, from the point of view of a rejected lover.

Tom Burr was born in New Haven (Connecticut, USA) in 1963.He lives and works in New York.
His work has been exhibited on many occasions in Europe and in the U.S.A. His most important solo shows include Gravity Moves Me I at the FRAC Champagne-Ardenne (France), Bonvicini/Burr, a double solo show with Monica Bonvicini, at the Städtische Galerie im Lenbachhaus und Kunstbau (Munich) and at the Museum für Gegenwartskunst (Basel), Addict – Love at the Sculpture Center (New York), and Moods at the Secession (Vienna) and the 2004 Whitney Biennial. His second solo show at the Bortolami gallery in New York is scheduled for 2012.

www.ilgiardinodeilauri.it

A

Depuis les années 60, John Giorno est une personnalité influente de la poésie contemporaine américaine. En tant que poète, Giorno ne se contente pas du livre publié, mais projette la poésie dans l'espace public, lui donne corps et voix par la performance, l'enregistrement, la peinture ou le dessin. Il est l'un des initiateurs, à New York, du concept de poésie-performance et fait partie des artistes qui en ont changé radicalement la perception.

Dans You Got To Burn To Shine (Il faut brûler pour briller) publié en 1994, il raconte son expérience dans la galaxie turbulente de la contre-culture américaine, dont il fut l'un des grands acteurs. En 1962, il rencontre Andy Warhol – il sera le personnage du film Sleep tourné en 1963 – puis Rauschenberg et Jasper Johns. Giorno commence alors à déplacer les méthodes d'appropriation du Pop Art dans son travail poétique. Par la suite, après sa rencontre avec William S. Burroughs et Brion Gysin, en 1964, il s'intéressera aux techniques du cut up, montage de textes trouvés, et composera ses premiers poèmes sonores.

John Giorno explore les prolongements et les dérivations plastiques de sa poésie. Son oeuvre répond à un désir de débordement du livre, dans une vision Intermédia où les différents modes d'expression et les contenus sont à la fois divers et intimement liés. Il crée ainsi des poèmes visuels, intitulés Poem Paintings, à partir de courts fragments extraits de ses textes, servis plastiquement par une typographie et une composition, formant des ensembles colorés, parfois provocants, pleins d'humour, mais également ouverts à la méditation. Giorno a participé en 2008 à l'exposition Traces du sacré au Centre Pompidou à Paris, et de nombreuses expositions personnelles lui ont été consacrées, en particulier par la galerie Almine Rech à Paris et Bruxelles en 2009 et 2010, récemment par la galerie Nicole Klagsbrun à New York. Il expose actuellement au musée du quai Branly à l'occasion de l'exposition Les Maîtres du désordre. Au centre d'art contemporain Faux Mouvement, il présentera un ensemble de sérigraphies spécialement produites pour le projet Mono et des installations sonores.

www.faux-mouvement.com

Everyday phenomena like pop and movie music or the sound of the street are central themes in Nächtliches Konzert. The exhibition title refers literally to a recent work by Jorinde Voigt. At the same time, the title describes the darker works by Gregor Hildebrandt, which is inaudible music. The work by both artists is rather conceptual in nature and places great demands on the imagination of the viewers. Although Hildebrandt and Voigt in essence embrace the same themes, the appearance of their work differs markedly.

Jorinde Voigt (Frankfurt am Main, 1977) is especially well-known for her monumental drawings, in which graceful lines, arrows and numbers form dynamic compositions. Her drawings are a delight to behold, but can also be seen as scoring or coding. The placement of lines and points is not random, but is dictated by an algorithm. Through depicting all the possible steps within a step-by-step plan, Voigt attempts to comprehend and visualise the underlying structures of a phenomenon.
Gregor Hildebrandt (Bad Homburg, 1974) adopts a different method. He mainly creates strongly geometric paintings, installations and collages in which tape from cassettes and videos is incorporated. Music or film has been recorded on the tape. Although the music is inaudible and the film cannot be seen, the recordings determine the content of the work. The song text, the story line, the performing singer or actor returns in the work through the title, a hand-written text or a photograph. Hildebrandt looks for ways to transform elements from a volatile medium into a static image.

In Nächtliches Konzert, the works, which are visually almost exact opposites of each other, are confronted with each other. The light, dynamic drawings by Jorinde Voigt form a contrast with the quiet, dark works by Gregor Hildebrandt. Some works have resemblances. As, in addition to drawings, Voigt also makes sculptures, in which she positions painted bars next to each other against the wall. The geometric and pattern-like appearance of these works is close to the panels by Hildebrandt. In turn, Hildebrandt also ‘paints’ complex collages with tape. The work suggests the abstract expressionist work of, for example, Pollock. The fragile pattern of lines that occurs here does not make it difficult to see similarities with the drawings by Voigt.

www.vanbommelvandam.nl

www.artandpress.de

“Gold fires the spirit of life, stimulates the heart and blood, and bestows greatness and vigour.”
Paracelsus, 1493–1541

Gold has always held a great fascination for mankind. A symbol of light associated with the sun, it played an important role in all advanced civilizations and was used as a material of the gods, rulers, and the aristocracy. The greed for gold, however, was also a reason for wars, looting, and conquests. In times of crisis, gold is still considered a stabile investment.

In art production, gold was particularly frequently employed during the Middle Ages, yet in the following centuries disappeared from the visual arts almost entirely. It was only in the second half of the twentieth century that many artists took to working with gold again.

“The Belvedere is particularly suitable as a venue for such a comprehensive presentation on the subject of gold,” emphasizes director Agnes Husslein-Arco, “not only because gold runs like a red thread through the various collections and the architecture of the Belvedere palaces, but also because the show juxtaposes traditional visual elements with contemporary art.”

www.belvedere.at

Ce projet a vu le jour en 2010 à Istanbul – en partenariat avec l’Institut Français – puis s’est déplacé à Ankara en 2011, avant de s’arrêter au lieu unique à Nantes dans quelques semaines et de gagner Maribor (Slovénie) « Capitale européenne de la culture en 2012 » puis Los Angeles dans le cadre des échanges « Paris-Los Angeles 2013 ».

Constituant un ensemble significatif, les artistes invités sont chacun dans des univers visuels forts, mais très différents, qui s’attachent tous à exprimer une violence récurrente. Une tension qui s’annonce omniprésente dans les œuvres de Stéphane Pencréac’h, politique chez Iris Levasseur, mélancolique chez Damien Cadio, cruelle chez Florence Obrecht, sensible chez Audrey Nervi, comique chez Marlène Mocquet, etc…

Première exposition au lieu unique entièrement consacrée à des œuvres picturales, La belle peinture est derrière nous est l’occasion rare de découvrir le dynamisme d’une génération, et la pluralité de ses préoccupations, grâce à un ensemble conséquent de pièces et une réalisation in situ de Jérôme Zonder repéré pour son univers qui joue conjointement du comique et de l’inquiétant.

Talentueux et représentatifs d’une « autre peinture », qui tend vers la figuration, ces artistes nous proposent une vision tout sauf nostalgique de ce média qu’ils maîtrisent à la perfection et qu’ils veulent vivace comme pour mieux nous prouver que non, la peinture n’est pas morte.

RONAN BARROT, JULIEN BENEYTON, ROMAIN BERNINI, KATIA BOURDAREL, ALKIS BOUTLIS, DAMIEN CADIO, NICOLAS DARROT, DAMIEN DEROUBAIX, GREGORY FORSTNER, CRISTINE GUINAMAND, YOUCEF KORICHI, KOSTA KULUNDZIC, P. NICOLAS LEDOUX, ÉLODIE LESOURD, IRIS LEVASSEUR, FRÉDÉRIQUE LOUTZ, MARLÈNE MOCQUET, AUDREY NERVI, MAËL NOZAHIC, FLORENCE OBRECHT, AXEL PAHLAVI, STÉPHANE PENCRÉAC’H, RAPHAËLLE RICOL, LIONEL SABATTÉ, IDA TURSIC & WILFRIED MILLE, JÉRÔME ZONDER.

www.lelieuunique.com

While Antar began by randomly photographing the coast, he later worked to systematically document the coastline, Emirate by Emirate, completing the series as part of a Sharjah Art Foundation Residency in 2011. The resulting photographs portray the borders between each Emirate and the sea as a place of contact and engagement with the outside world. The work reveals traces of history drawn on the landscape as well as the recent past of these young countries that have been built upon trade and commerce.

Viewed in succession, these photographs tell the story of an economic boom and its hazards through images of both monumental architectural structures and the abandoned worksites of unfinished construction projects, as well as through the daily lives and activities of the middle classes.

This exhibition consists of 211 black and white and coloured photographs. Installed along walls that wrap around the centre of the exhibition space, the photographs will be hung in a single line that is fractured and segmented, reflecting the physical geography of the United Arab Emirates.

www.sharjahart.org

Bien plus qu'une expression géographique, la Méditerranée est un carrefour politique et économique entre l’Occident et l’Orient, le Nord et le Sud. Plusieurs communautés culturelles la composent, avec chacune, son approche du monde et ses modes de vie. Un ensemble de modèles complexes de rencontres de peuples et de cultures, qui a donné naissance à de grandes civilisations. 

A travers le regard des artistes participants, l’exposition met en lumière les différences, tout comme les similitudes, qui tissent les identités profondes des peuples méditerranéens. 
Les routes qui traversent la Méditerranée, autrefois domaine des marchands, des voyageurs et des conquérants, sont devenues aujourd’hui, pour les artistes de cette région, les routes vers la connaissance et la créativité.

Pour sa présentation au musée d'art contemporain de Marseille, "The Mediterranean Approach" a reçu le soutien d'ART for The World*, du consulat général d'Israël à Marseille, de la ville de Genève, ainsi que celui des galeries Guy Bärtschi (Genève), Riccardo Crespi (Milan), Kamel Mennour (Paris), Almine Rech (Bruxelles/Paris), Kaufmann Repetto (Milan) et Christian Stein (Milan), de l'Hôtel La Résidence du Vieux Port. 

L'exposition bénéficie par ailleurs du soutien du Conseil culturel de l’Union pour la Méditerranée et elle placée sous l’égide de Marseille-Provence 2013, capitale européenne de la culture. ­

www.marseille.fr

Avec les oeuvres, films et documents de :
Abbé de la Chapelle, Samuel Beckett, Horace Brunet, Angela Bulloch, Janet Cardiff et George Bures Miller, Julius Casserius, Denis Diderot, Franck Éon, Joseph Glanvill, Jean-Jacques Grandville, Eugène Hippolyte Forest, Mark Leckey, Laurent Montaron, Philippe Parreno, Vittorio Santoro, Laurie Simmons, Ida Tursic et Wilfried Mille, Wolfgang von Kempelen, Jeff Wall, Marnie Weber, William Wegman, Jordan Wolfson.

www.centrepompidou.fr

For many years it has been the dream of Luise and Jens Faurschou to focus on the collection and its development, and the possibility of showing it. On the basis of the results and the collection created over the years, it has now become possible to realize this dream.

Both exhibition spaces in Copenhagen and Beijing are based on private funding, but will be oriented towards - and open to - the general public.

Currently on view at Faurschou Foundation Beijing are works from the collection by Ai Weiwei and Liu Wei.

www.faurschou.com

American Exuberance will occupy all 28 galleries in the 45,000 sq. ft. museum, and all works in the exhibition are drawn from the Rubell Family Collection/Contemporary Arts Foundation. A 244-page catalog will be available, with writings by 13 artists in the exhibition including Kathryn Andrews, Frank Benson, Hannah Greely, Thomas Houseago, Richard Jackson, Rashid Johnson, Nate Lowman, John Miller, Richard Prince, Sterling Ruby, Haim Steinbach, Ryan Trecartin, and Kaari Upson.

Exhibition Statement

In our efforts to understand the America we live in today, we turn toward contemporary art and artists. The 64 artists in American Exuberance, all citizens or residents of this country, are keen observers of American culture, economy and politics – whatever their country of origin.

In its totality, the exhibition creates a portrait of the American condition. The artworks span the last few decades for context, with a focus on works made in today’s America.

We asked a number of participating artists to comment on American Exuberance for the catalog. Many of them conceived original texts. The following is an excerpt from John Miller’s essay that has deeply informed our understanding of the subject: 

“American exuberance is part myth and part reality… Paradoxically, exuberance is linked to stagnation, entropy and ruin. Its efflorescence becomes mirage-like. For the artists, these conditions are materials.”

www.rfc.museum

Miami Beach Convention Center, Miami Beach, Florida, USA

www.artbaselmiamibeach.com

Slimane has achieved global recognition over the past decade for his discovery and presentation of emerging musicians and artists. His publications on London youth are among the first books published about the early days of the new British punk-rock movement at the beginning of this decade, capturing the birth of the first generation of Internet users, and redefining the concept of "fans" as an indie youth imagery that has developed globally through emerging social networks. Slimaneʼs widely followed photographic "diary," created in 2006, established and popularized an entirely new genre—the online photo diary.

Slimane has invented a new and oblique visual language to represent youth and reinvent the rock documentary. In his work, live performance is reduced to a minimal, photographic lexicon&mdash:a ritual black-and-white convention of signs. Still life photographs become almost liturgical—a singular, silent expression of youth.

"Hedi Slimane has created a new and fresh visual language for youth today," said MOCA Director Jeffrey Deitch. "His black-and-white images capture the essential expression of the emerging art, fashion, and music scenes around the world."

Slimane's exhibition at MOCA will be divided into two parts. An installation and a series of black-and-white print photographs from his California years will be presented on the ground floor, and a sonic, motion-photography installation, produced specifically for MOCA, will be featured on the second floor. The installation will reference a multi-projection, cubic, architectural format, which Slimane has constructed in previous exhibitions to present his photographs, using serial construction and repetition to create an archaic form of cinematic narration.

Slimane's allusive portraiture, in which photographs, portraits, and still life compositions are often signs or fragments of a portrait, will be projected in a repetitive, almost ritual, manner. The installation will also address "performance act," as defined for the first time in Slimane's photographic essay, Stage (2004), and will include a live performance space underneath the projection.

Select California bands, such as No Age, will contribute to the installation, using a fragmentary sound system, and composing panoramic scores&mdash:extended, visual song formats—which will form a dialogue with and define a sonic vocabulary for the photographs.

THE MUSEUM OF CONTEMPORARY ART, LOS ANGELES (MOCA)

250 SOUTH GRAND AVENUE

LOS ANGELES CA 90012

www.moca.org

Preview Wednesday October 19th

Professional afternoon: 3 - 5 p.m.

Opening: 5 - 10 p.m.

Public Opening Hours

October 20th - 23rd

12 - 8 p.m.

Informations:

www.fiac.com

Matthias Bitzer
Tom Burr
Mark Hagen
Gregor Hildebrandt
Isaac Julien
Peter Peri
Richard Prince
Anselm Reyle
Taryn Simon
Katja Strunz
Liu Wei
Yeesookyung
Aaron Young

A bronze sculpture by Johan Creten will be presented at FRIEZE SCULPTURE PARK.

Preview Wednesday 12 October

Professional View 2-6:30 PM
Private View         6:30 - 9 PM

Public Opening HoursThursday 13 October (13 - 7 PM)
Friday 14 October  (12 - 7 PM)
Saturday 15 October (12 - 7 PM)
Sunday 16 October  (12 - 6 PM)

The subjects documented by Simon include feuding families in Brazil, victims of genocide in Bosnia, the body double of Saddam Hussein`s son Uday, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate.

Each work in A Living Man Declared Dead is comprised of three segments. On the left of each chapter are one or more large portrait panels systematically ordering a number of individuals directly related by blood. The sequence of portraits is structured to include the living ascendants and descendants of a single individual. The portraits are followed by a central text panel in which the artist constructs narratives and collects details. On the right are Simon`s "footnote images" representing fragmented pieces of the established narratives and providing photographic evidence.

Simon`s presentation explores the struggle to determine codes and patterns embedded in the narratives she documents, making them recognizable as variations (versions, renderings, adaptations) of archetypal episodes from the present, past, and future. In contrast to the methodical ordering of a bloodline, the central elements of the stories violence, resilience, corruption, and survival disorient the highly structured appearance of the work. A Living Man Declared Dead and Other Chapters highlights the space between text and image, absence and presence, and order and disorder.

Taryn Simon was born in 1975 in New York, where she lives and works. Her previous work included Contraband 2010, an archive of images of items that were detained or seized from passengers and mail entering the United States from abroad; An American Index of the Hidden and Unfamiliar 2007, which reveals objects, sites, and spaces that are integral to America`s foundation, mythology, or daily functioning but remain inaccessible or unknown to a public audience; and The Innocents 2003, which documents cases of wrongful conviction in the United States, calling into question photography¹s function as a credible witness and arbiter of justice.

Presented by:

National Gallery
Verein der Freunde der Nationalgalerie

Potsdamer Straße 50
10785 Berlin

http://www.smb.museum

This book brings together a selection of works crucial to understanding Liu’s practice, beginning with earlier works such as Love It, Bite It (2006), an array of building models made of ox hide dog chews; and the provocative photographic study As Long As I See It (2006). The centerpiece of this volume is the project Trilogy, which Hans Ulrich Obrist calls a Gesamtkunstwerk of sorts. This monumental project weaves several uniquely varied threads of Liu’s practice into three major sculptural installations: Merely A Mistake II (2009-2011), Golden Section (2011) and Power (2011). These works are juxtaposed with paintings from his renowned Purple Air series and the more recent Meditation series. The last part of the book presents a group of selected paintings of critical and personal importance to Liu’s career.

Liu Wei. Trilogy, (Authors: Hans Ulrich Obrist, He Juxing, Guo Xiaoyan, Gunnar B. Kvaran), Minsheng Art Museum, Shanghai, 2011, 128 pages.

Gallery Illy hosted by Flos & Moroso

7-15 Rosebery Avenue - London EC1R 4SP

L’installation vidéo « The Leopard » présentée pour Nuit Blanche est une des différentes versions du film de l’artiste « Western Union : Small Boats, 2007 » et prend son titre et son origine à la source du célèbre film de Visconti « Le Guépard ». Tourné à Lampedusa, au large de la Sicile, le film propose une déambulation poétique dans cette île à la grandeur déchue. La caméra suit l’actrice Vanessa Myrie dans cette pérégrination qui va de Visconti aux récents flux de migrants. Réflexion sur la condition humaine, empruntant les chemins de la narration, ce film distille un climat contemplatif et intrigant.

Images spread instantaneously and appear to be the only evidence required to render an event credible and immediate. Seeing is believing, and yet images still manage to overwhelm our imagination, our belief in reality. The realization that images are not merely the objects of a non-media reality but instead create their own realities has become an integral part of the ability to read contemporary images. The visual immediacy of political events, the politicization of images and their uncontrollable speed of circulation have led to intense reflection in contemporary art on the power and status of the image.

Adel Abdessemed, Abbas Akhavan, Kenneth Anger, Nadim Asfar, Taysir Batniji, Adam Broomberg und Oliver Chanarin, Paul Chan, Zeyad Dajani, Anita Di Bianco, Joana Hadjithomas und Khalil Joreige, Khaled Hourani, Iman Issa, Alfredo Jaar, Nedim Kufi, Iñigo Manglano-Ovalle, Gianni Motti, Adrian Paci, Walid Sadek, Taryn Simon, Sean Snyder, Hito Steyerl, Akram Zaatari

www.kw-berlin.de

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BENELUX: unprecedented in France,
a selection of emerging artists and their famous predecessors
with

FARAH ATASSI (BE), ATELIER VAN LIESHOUT (NL), CHARLOTTE BEAUDRY (BE), MADELEINE BERKHEMER (NL),
MICHEL BOCART (BE), RICARDO BREY (CU),
MARCEL BROODTHAERS (BE), JACQUES CHARLIER (BE), RONALD CORNELISSEN (NL), JOHAN CRETEN (BE), SIMONE DECKER (LU), PETER DE MEYER (BE),
DRIESSENS & VERSTAPPEN (NL), LILI DUJOURIE (BE), JAN FABRE (BE), BERNARD GILBERT (BE), TINA GILLEN (LU), JOHAN GRIMONPREZ (BE), MARIE HENDRIKS (NL), SCARLETT HOOFT GRAAFLAND (NL), VERA KOX (LU), ANITA MOLINERO (FR), FREDERIC PLATEUS (BE), KELLY SCHACHT (BE), RENIE SPOELSTRA (NL), THE PLUG (LU), ESTHER TIELEMANS (NL), JORIS VAN DE MOORTEL (BE), CATHARINA VAN EETVELDE (BE), GER VAN ELK (NL), DIRK VANDER EECKEN (BE), KEES VISSER (NL), ANNE WENZEL (DE).

The Palais d’Iéna, a signifi cant artistic venue, was designed in 1939 by the architect Auguste Perret to host temporary painting exhibitions and became the Museum of Public Works until 1956. Recently the Palais d’Iéna has hosted exceptional events. This year, during the Week of Contemporary Art in Paris, it will open the doors of its spectacular 1000 m2 Hypostyle reception room for PEARLS OF THE NORTH, an exhibition dedicated to Dutch,
Belgian and Luxembourg artists. The space is well suited to the project enabling the works to be showcased without
obscuring the intrinsic qualities of the architecture.
The 25 galleries present in the show do not participate in every international art fair.

By giving them this time and space, the curators Caroline Smulders and Jérôme Lefèvre hope to provide international visibility to a group of high quality artists who don’t always have institutional support but whose talent is supported and encouraged by collectors from their own countries.
The purpose of this show is not to establish some kind of inventory of the important artists from each country.
Rather, in accordance with the ideas elaborated in the writings of Marcel Broodthaers, the organizers’wish is to
broaden perspectives for the future.

Artistic director
Caroline Smulders, ILOVEMYJOB
( csmulders@free.fr / cell phone: +336 09 02 66 31 )

Director, administration
Jérôme Lefèvre ( jerome@beautyfl ow.net / cell phone: +336 98 89 52 11 )

Coordination, press relations
Pauline Gauthron ( gauthron_pauline@yahoo.fr / cell phone: +336 85 91 83 31 )

Images available on our website: www.pearlsofthenorth.com

l

Le Printemps innove cette année en investissant certains des lieux du parcours avec la première édition de son Festival International des Écoles d’Art. Il s’associe également au Festival Occitània, à la Mission Locale ainsi qu’à l’Université de Toulouse pour développer des projets spécifiques.

Joe Bradley présentera au Musée les Abattoirs, une nouvelle série de peintures.

Musée les Abattoirs

76, allée Charles-de-Fitte

31300 Toulouse
Métro Saint-Cyprien (ligne A)
+33 (0)5 62 48 58 00
lesabattoirs@lesabattoirs.org
www.lesabattoirs.org

http://www.printempsdeseptembre.com

Members of the arts panel play a key role in shaping Washington’s architecture by approving the site and design of national memorials and museums; advise the U.S. Mint on the design of coins and medals; and administer the National Capital Arts and Cultural Affairs program, which benefits non-profit
cultural entities that provide arts programming in Washington.
Seven commissioners appointed by the President serve four-year terms.

Past members have included architects, landscape architects and artists, including Daniel Chester French who sculpted the statue of Abraham Lincoln at the Lincoln Memorial and landscape architect Frederick Law Olmsted, Jr., who’s projects include the National Mall, Jefferson Memorial and the White
House grounds.

Teresita Fernández (b. 1968) is a visual artist best known for her prominent public sculptures and unconventional use of materials. Fernández's work is characterized by an interest in perception and the psychology of looking. Her experiential, large-scale works are often inspired by landscape and natural
phenomena as well as diverse historical and cultural references. She is a 2005 MacArthur Foundation Fellow and has received many prestigious awards including a Guggenheim Fellowship, a
Louis Comfort Tiffany Biennial Award, an American Academy in Rome Affiliated Fellowship, and a National Endowment for the Arts Artist's Grant.

Fernández's large-scale commissions include a recent site-specific work titled "Blind Blue Landscape" at the renowned Bennesee Art site in Naoshima, Japan. She is the youngest artist commissioned by the Seattle Art Museum for the recently opened Olympic Sculpture Park where her permanently installed
work Seattle Cloud Cover allows visitors to walk under a covered skyway while viewing the city's skyline through optically shifting multicolored glass.

Ms. Fernández’s works are included in many prominent collections and have been exhibited extensively both nationally and internationally at the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the Modern Art Museum of Ft. Worth, the Castello di Rivoli in Turin, Italy, the
Corcoran Gallery of Art in Washington DC, the Centro de Arte Contemporaneo in Malaga, Spain, and the Institute of Contemporary Art in Philadelphia. Fernández is currently on the board of Artpace, a nonprofit, international artist's residency program.

She received her MFA from Virginia Commonwealth University and her BFA from Florida International University.

###

MEDIA CONTACT:

Lehmann Maupin Gallery Fitz & Co.

Bethanie Brady Justin Conner

Tel: 212 254 0054 Tel: 212 627 1455

Email: Bethanie@Lehmannmaupin.com
Email: Justin@fitzandco.com

Over three decades, Van Beirendonck has built up an impressive international career. He is the maverick of the Antwerp fashion scene and became primarily known for his colourful designs, his spectacular fashion shows in Paris in the 1990s under the W.&L.T. label, and the critical messages on society he proclaims in his designs. His work combines the most diverse sources of inspiration, ranging from technology, art and pop culture to ethnography.

In addition to many of the most exceptional silhouettes from Van Beirendonck’s collections, the exhibition provides an overview of the world he lives in, his sources of inspiration and his numerous other projects. By way of different themes, it takes a deeper look into the narrative character of his oeuvre, his fascination for ethnography, spiritualism and the supernatural, rituals, science fiction and technology.

The exhibition reveals how Van Beirendonck examines the frontiers of beauty, creating his own interpretations of concepts imposed by society, for example, in terms of gender and sexuality, and how he incorporates topical themes, including ecology, Aids or mass consumerism into his collections and presentations. The exhibition also investigates the diverse projects beyond the catwalk, in which Walter van Beirendonck has participated, with special focus on his costumes for the U2 PopMart tour in 1997. Walter van Beirendonck has moreover collaborated with fashion photographer Nick Knight/SHOWstudio.com, stylist Simon Foxton and GQ Style UK to develop a new photography and video project created especially for this exhibition.

http://www.momu.be

CONTRABAND is the result of an arduous and physically demanding sojourn at the airport requiring the artist and her team to adjust to its relentless 24hr rhythm. This series shows illegal, prohibited, pirated and/or counterfeited items detained or seized from passengers and express mail entering the United States from abroad - ranging from pharmaceuticals or drugs to Cuban cigars or animal body parts. 

With this representative sampling frame of international trading, Taryn Simon exposes the mechanisms – needs and desires – of the globalized society in the early 21st century.

Curator: Katya García-Antón

McWhinnie's essay is a thought provoking exploration of how Prince has manipulated the rules of art and truth throughout his career and in doing so has created a unique body of work that trades in rumor, gossip, innuendo, fabrication, simulation and dissembling.The result is a performative styled art practice that causes a head-scratching whiplash on the part of an audience made up of critics, collectors, enthusiasts and detractors, all of whom suspect Prince of playing them like the butt of a joke.

Finally, Mcwhinnie addresses the ultimate question of his essay: where does Richard Prince the self-mythologizing artist end and Richard Prince the quotidian flesh-and-blood figure begin? And Rather than engaging the question from the perspective of journalistic truth, searching for facts and biographical nuggets to stoke admiration, or conversely, to fuel condemnation of the controversial artist, McWhinnie takes on Prince on his own turf, mythologizing the myth.  To that end he steals and adapts a title from one of Wallace Stevens’ poems Thirteen Different Ways of Looking at a Blackbird and offers the reader thirteen different ways of looking at Prince the artist. Each is a metaphor drawn from the world of Prince’s obsession: literature, movies, magazines, and music. They may, McWhinnie claims, all be  multiple ways of looking at a single artist, but then again, Je est un autre, and it may be that the best we can say is that they are multiple ways of looking at a very singular artist who contains multitudes.

Les images sont vulgaires mais la peinture, elle, est là dans sa grandeur, son lustre, quelque chose de grandiloquent presque, généreux, débordant. La peinture dans tous ses états. Toutes les factures sont là, toutes les touches possibles, tous les styles, parfois sur une même toile, toutes les manières de peindre, tous les aspects. Tous les genres aussi : portraits, paysages, abstractions, formes géométriques, expériences optiques. Leurs toiles convoquent l’histoire de la peinture, mais discrètement, tout le passé de la peinture sous toutes ses formes, et l’amènent dans notre présent, celui d’Internet où Ida Tursic et Wilfried Mille font leur marché d’images, celui du cinéma, de la pub, des journaux de mode, des starlettes, de la célébrité triste de seconde zone.
Virginie Vuillaume

Exposition organisée à l'occasion de la sortie de la parution du livre "Decade"

Textes de Eric Troncy et Virginie Vuillaume

Français / Anglais - 280 pages

Disponible dans The Shop @Almine Rech

FRAC Auvergne - 6 rue du Terrail - 63000 Clermont-Ferrand
+33(0)4 73 90 5000 - contact@fracauvergne.com

www.fracauvergne.com

Du mardi au samedi de 14h à 18h, le dimanche de 14h à 17h  (Sauf jours fériés) - Entrée libre

Curator: Katerina Gregos

www.danish-pavilion.org

Le vernissage aura lieu le jeudi 3 juin 2011, de 19h à 22h.

Proposée par Adelina von Fürstenberg (présidente dʼART for The World), et Thierry  Ollat (co-directeur du Musée dʼArt Contemporain de Marseille), lʼexposition accueille les œuvres dʼartistes originaires de la région Meditérranéenne, ou y œuvrant :  Ghada Amer (Egypte), Ziad Antar (Liban), Faouzi Bensaïdi (Maroc), Marie Bovo (Espagne), David Casini (Italie), Hüseyin Karabey (Turquie), Ange Leccia (France), Adrian Paci (Albanie), Maria Papadimitriou (Grèce), Khalil Rabah (Palestine),  Zineb  Sedira (Algérie), Gal Weinstein (Israël), Peter Wüthrich (Suisse).

"La Méditerranée est bien plus quʼune expression géographique. Cadre vivant de références à un ensemble de modèles complexes, carrefour à la fois de peuples et de cultures, elle est le lieu de la naissance de grandes civilisations et la porte ouverte entre  lʼOccident et lʼOrient. A travers le regard des artistes participants, lʼexposition sʼattache à mettre en lumière les différences, tout comme les similitudes, qui tissent les identités profondes des peuples méditerranéens."

CONTACT PRESSE:

Art for the World: Laura Revelli Beaumont - lrbeaumont@gmail.com / +33 (0)6 70 21 29 40

Almine Rech Gallery: Camille Blumberg - camille@alminerech.com / +33 (0)1 45 83 71 90

INFORMATIONS SUPPLEMENTAIRES

www.artfortheworld.net

www.alminerech.com

Ten Thousand Waves, the first exhibition of Atelier Hermès' 2011 programme, is also Isaac Julien's first solo exhibition in Korea. Julien, a world-renowned British artist, has mainly worked in film and video, and has already opened up a new dimension in video installation. Some of his work has been seen in Korea in recent years: Baltimore at the Busan Biennale 2004 and Western Union: Small Boats at the Gwangju Biennale 2008.

Julien's new 3-channel video installation Ten Thousand Waves is based on the 55-minute film of the same title that the artist worked on for four years. While it was presented as a 9-channel video installation at its world premiere at the Sydney Biennale 2010 as well as at exhibitions in Shanghai, Miami, and London, for this occasion the work has been specially rearranged as a three-screen version, to accommodate the specific space of Atelier Hermès. Mostly shot in China, Ten Thousand Waves is an artist's film that features well-known actresses such as Maggie Cheung and Zhao Tao, the impressive heroine in Jia Zhangke's 24 City. The young video artist Yang Fudong, the poet Wang Ping, and the venerable Chinese calligrapher Gong Fagen also appear on screen. In particular, Wang traveled between London and China, establishing a dialogue with Julien from the preparatory stage and created poems that are featured as voice-overs in the film.

The brief storyline of Ten Thousand Waves has three layers. The first is a Chinese legend about the goddess Mazu (1) (played by Maggie Cheung) who has a special power to guide shipwrecked sailors safely to shore. Here Julien transposes the goddess into contemporary China, where Mazu bends space and time, flying between the buzzing rush hour of Shanghai and a landscape with a calm bamboo forest and stony mountains. The second layer concerns an accident that happened recently to a group of 23 Chinese illegal immigrant workers who were gathering cockles at the seashore in England in the spring of 2005. Unaware of the seasonal high tide, they were suddenly swept away to their deaths; even their guardian Mazu was unable to save them. The third layer is based on the specific situation of early twentieth-century Shanghai, when the city was dominated by Western powers. During this time, the 1930s, Shanghai flourished as a center of the film industry. The Goddess (1934), which was produced during this period, portrays the tragic life of a woman who had no choice but to prostitute herself in order to make a living to support her children. Julien remakes the film (in which Zhao Tao plays its heroine) to evoke the atmosphere of Shanghai in the 1930s. As these three layers interweave, Ten Thousand Waves crosses the boundaries of past and present, fiction and reality, and feature film and documentary.

Scrupulously, like a surgeon wielding a scalpel, Julien dissects the film's sequences, scenes, and shots to synthesize them as a contemporary art installation of great complexity. The background sound, meticulously inserted not only as the main narration but also as additional explanation or monologue, enriches the enthralling video installation. The narrative structure intermingling Chinese culture and history as well as modern catastrophes is in keeping with Isaac's life-long subject matter. Immigrant workers rooted in post-colonialism and economic globalization were featured in his earlier work Western Union. Deliberately connecting aesthetic, social, and psychological dimensions, Julien's video installation invites the audience to experience a corporeal perception similar to floating. As viewers drift through the video projection space they confront the grave question of Western-centric cultural globalization.

In addition to the video installation work this exhibition includes four large-format photographic works derived from the film: Hotel, Maiden of Silence, Red Chamber Room, and Mazu Turning.

(1) Mazu(媽祖/天后) is a goddess of the sea traditionally worshiped in the coastal provinces of southern and central China as well as in Chinese Taipei.

Atelier Hermès

3rd Floor, Maison Hermès Dosan Park

630-26 Shinsa-dong, Gangnam-gu

Seoul, Korea

www.fondationdentreprisehermes.org

This artistic movement has inspired his work as photographer and painter.Thanks to a musical background - including works by Jimi Hendrix, Jim Morrison, Bob Dylan and the Velvet Underground – and to his collaboration with the designer David Adjaye, Richard Prince portrays an American continent scoffing at its myths, introduced in a beat, hippie or punk context. Rare books and manuscripts by Rimbaud, Céline, Cocteau and Genet, European underground magazines and popular books, were selected among BnF’s collections. Richard Prince has planned to re-appropriate some of them, building bridges with several treasures from his private collection of books that were never previously put on display. Documents connected to the key beat generation figures are presented such as an annotated copy of William Burroughs’ « Naked lunch » or the handwritten scroll of Jack Kerouac’s « Big sur », Prince’s collection of « pulp fiction » focusing on the erotic and disturbing nurse character or his collection of editions of Nabokov’s « Lolita » in about twenty languages. Paintings, drawings, photographs, artists’ books, manuscripts and objects illustrate the artist’s personal universe between high and low culture, between America and Europe. The exhibition ends with a reading room which walls have been covered with fake books conceived by Richard Prince and treasures rarely presented before.

Pour leur exposition au musée des Beaux-Arts de Dole, ils présenteront une soixantaine d’œuvres récentes parcourant les thématiques de leur production (nus, scènes de genre, paysage). Elles rendront compte de leur relation particulière au monde de l’image, exprimée par des procédés plastiques variés. La scénographie de l’exposition tissera un fil d’ariane autour de ce questionnement sur le visible et sa représentation. Elle se basera sur le principe d’une déambulation orientée depuis la périphérie de l’espace pour se diriger vers son cœur, visant à mettre en œuvre « une expérience physique de l’exposition.

www.musees-franchecomte.com

Occupying two floors, this new project will present new editions focusing alternately on artists who are currently at the forefront of the contemporary art scene. Visitors will notably discover a range of limited editions from Matthias Bitzer, Gregor Hildebrandt, Damien Hirst, Richard Prince, Anselm Reyle, Cindy Sherman, Matthieu Ronsse, James Turrell and Franz West.

The Shop will also give the gallery and its artists the opportunity to develop and present new projects through the creation of new editions and publications.

Władysław Strzemiński is an iconic figure, one of the most radical artists connected with the inter-war avant-garde movement in Poland. He is also a crucial figure for the Muzeum Sztuki in Lodz: it is thanks to his efforts that the International Collection of Modern Art of the “a.r” group was created and marked the beginnings of the institution. Afterimages of Life is the first monographic exhibition of the artist in the period of the last 17 years. Its objective is the re-interpretation of Władysław Strzemiński’s works and placing them in the context of contemporary world. The multi-layered activities of Strzemiński aimed not only at transforming of the so-called high art – painting, sculpture, architecture – but also at transforming  the broadly-understood design, which would eventually lead to transformation of men’s surroundings and their lives. Today, his attitude is generally interpreted solely in historical context but the questions to which he tried to find answers – what laws govern art, what are art’s rights, can art be separated from life and to what extent can art influence life – seem to be topical still.
What are „afterimages”, the key notion to Strzemiński’s theory of seeing? Physiologically speaking, retina retains the object for a longer time than the moment of seeing the ting actually lasts: it remembers the image although the gaze has already. This is why the eye has a possibility of overlapping and mixing images: those that are still on the retina, although we do not look at them anymore, and those we see in real time. It can thus be said that the overlapping of images makes it possible to transfer visual elements from one area onto the other, e.g. from painting onto sculpture, from sculpture onto architecture, from architecture onto life. This was some phenomena discovered in painting can be applied in everyday life, interior design, or even urban planning design.
The second part of the title: Władysław Strzemiński and Rights for Art refers to the artist’s deliberations on the „right” to which he devoted a large part of his research. Strzemiński was deeply convinced that art has the right to participate in life and life has the right to participate in art. Art then, according to Strzemiński should discover essential elements of life and create their artistic counterparts. Art is not a creation separated from reality but functions within it and results from it.

Broadening the field of interpretation of Strzemiński’s works, the curators invited a German artist, Katja Strunz, who re-works the theme of avant-garde in her own work, to cooperate in creating the exhibition. Thanks to her intervention in the shape of the architecture of the exhibition we are given a new commentary to the works of Strzemiński. Strunz, using the letters of Strzemiński’s alphabet created in the 1930s, put together the word Zeittraum, That outlines the space of the exhibition.

Afterimages of Life. Władysław Strzemiński and Rights for Art are the largest and the  most important production of the Museum in 2010. The exhibition is accompanied by a series of lectures conducted by international guests, an analytic seminar of reading Strzemiński’s theoretical texts, a discussion panel and workshops and educational activities for wide audiences. Related to the exhibition, three publications will be issued: the exhibition catalogue, a brochure connected with Katja Strunz’s artistic design and a book consisting of interpretations aimed at filling the gap in research into Strzemiński’s works.


Władysław STRZEMIŃSKI (1893-1952) – is considered to be the most important figure of avant-garde art in Poland. A painter, graphic artist, theoretician and educator, he was the pioneer of avant-garde in the Poland of the 1920s and 1930s. The theory of Unism he developed is an important contribution to the history of world art of the 20th century. His theoretical activities dominated the avant-garde art. thought. He was the author of many books and articles: Unism in Painting (1928), Space Composition. Time-Space Rhythm and its Calculations (1931) – written together with his wife, Katarzyna Kobro – and Theory of Vision published posthumously (1958) count among the most important ones. A student and a close friend of Kasimir Malevich, he brought to Poland and disseminated the ideas of constructivism. He was a member of the most important avant-garde groups of the 1920s: „Blok”  „Praesens” and „a.r.”. He was also the organiser of modern art: in 1929, with the members of “a.r.”, he begun collecting the International Collection of Modern Art that consisted of donations by the representatives of European avant-garde: Theo van Doesburg, Max Ernst, Kurt Schwitters, Pablo Picasso (lost during World War II) and others. In 1931, at the J. and K. Bartoszewicz Municupal Museum of History and Art in Lodz (today: Muzeum Sztuki), a room of modern art. was opened: one of the first permanent museum exhibitions in the world devoted to avant-garde art. Almost 20 years later, in 1948, Strzemiński designed the Neoplastic Room in the newly obtained building of Muzeum Sztuki, whose sole purpose was the presentation of the Collection. After the Second World War, Strzemiński was a lecturer at the Academy of Art in Lodz for a short time. In that time he passed on the avant-grade traditions onto the students in spite of the social realism starting to dominate in the field of art. He educated a generation of artists for whom his creative output has remained a reference point until today. It is thanks to himself and his wife Katarzyna Kobro that Lodz has come to be associated with avant-garde and modern art in general.

Place: ms², 19 Ogrodowa St.
Vernissage: 30th November 2010, 6.00 pm.
Exhibition design: Katja Strunz
Curators: Paulina Kurc-Maj, Jarosław Lubiak                                                         
Consultation: Zenobia Karnicka

Sylvie Fleury
Xylor Jane
John McCracken
Anselm Reyle
Taryn Simon
James Turrell
Ida Tursic & Wilfried Mille
Aaron Young

+ A presentation of a new edition of  skateboards by Anselm Reyle, each unique, signed and numbered 1/50.

art scene featured in an exhibition designed by an independent curator. Awarded by a jury of art critics and collectors (friends of the Centre Pompidou, the Palais de Tokyo, the Jeu de Paume...), the Prize consists in the purchase of a work from the winner, a work then donated to the Centre Pompidou and exhibited in the collections of the Musée national d'art moderne. Ida Tursic and Wilfried Mille's The Back of the Sign, which won the Prix Fondation d'entreprise Ricard in 2009, will thus be shown at the Centre Pompidou starting October 13 and on.

This exhibition involves works from a wide range of media and techniques showing the complexity and the originality of his carreer. An outside sculpture will be exhibited in the immediate environment of the Kunsthaus Graz.

Trouvé reconfigures and modifies spaces, never completely obscuring their original form but introducing shifts in scale and detail which transform our understanding and experience of them. Taking a set of drawings in her most recent artist’s book as a point of departure, for the South London Gallery Trouvé divides the single volume of the main exhibition hall into three separate but interlinking chambers, each one offering glimpses into the next, the original architecture being altered but not completely denied.

As visitors make their way through spaces of differing dimensions and ceiling heights, components from the source drawings are gradually revealed. Carefully placed sculptural objects, drawings on canvas, burn marks made directly on walls, as well as the spaces themselves, have all been derived from the original images through various processes of transfer, from one measurement, material or surface to another. Coils of rope are fashioned from copper, bags are made of wax and suspended from copper threads and a small bronze cushion is squashed between a pillar and a wall. These and other elements suggest a complex web by which they are connected, hinting at the possibility of a hidden narrative to explain their presence as well as at the processes of mutation behind their creation.

Trouvé was winner of the prestigious Marcel Duchamp Prize in 2007, has exhibited widely internationally, including at the Venice Biennale, and had a solo show at the Centre Georges Pompidou in 2008, yet this is her first major solo show in the UK.