Almine Rech Gallery

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

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

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.

Curator: Katerina Gregos

www.danish-pavilion.org

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.

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.