l'e-m

ubu/film

Calatrava1, interjú, wiki, életrajz

OLIVIER BARDIN You belong to me I belong to you
Centre d'édition contemporaine, 18, rue Saint-Léger, 1204 GENEVA Olivier Bardin, You belong to me I belong to you, Feb. 5, 2008, at 6:43:35 pm
"Olivier Bardin's exhibitions challenge the image of the person. Visitors are invited into an empty exhibition space, and the show really commences as the artist asks them to become the only pictures to be seen. Thus, the self-image is the real object of the exhibition. The apparatus reveals the way this image is built up from the other people's perception; spectators, at the same time, are watching and being watched. Eventually, they constitute a community based on mutual confidence, where perception acts as a self-balancing device.

Perichronic három híróriás címlapfotóit közli naponta, egy év késéssel. (statement)

Follow Fluxus - After Fluxus
ll\ NKV nassauischer kunstverein wiesbaden, wilhelmstr 15, 65185 wiesbaden

Philip Taaffe. The Life of Forms. Works 1980 - 2008 March 8, 2008 - June 29, 2008 Kunstmuseum Wolfsburg Hollerplatz 1 38440 Wolfsburg
Philip Taaffe Unit of Direction, 2003 Mixed media on canvas 306 x 306 cm Essl Museum Klosterneuburg/Vienna
Copyright: 2008 Philip Taaffe

Braun András: I.D.G.N. 2002, 0,a,v., 84x84 cm

# posted by sine : 10:28 AM

Mélyi József: Public art és köztéri szobrászat

Mint gorillán a rúzs (Szempontok egy törvényjavaslathoz) És/ 2008.02.29. 09. szám
könyv: Kortárs Művészet - Szoborpályázatok 1950-2000. Szerkesztette: Nagy Ildikó

szoborlap.hu

munster sculpture projekt

bonus track: nyílt levél a tranzitblogon

Labels: mke

# posted by sine : 10:22 AM

2008. március 19., 18-20 óráig, Artpool P60Dimenzionista világtalálkozó (N+1/2008) A KAPCSOLAT-ALAPÚ MŰVÉSZET, MINT INFORMATÍV KÖLTÉSZET Vizsgálódó világok találkozása az időben

Gravity Art March 1 - April 26, 2008 TELIC Arts Exchange 975 Chung King Rd. Los Angeles, CA 90012
"TELIC Arts Exchange becomes a lab for the production of a new genre of art from March 1 through April 26. In light of recent cultural developments, video art, performance art, and conceptual art no longer seem like esoteric, avant-garde enterprises. Social networking and content distribution platforms, such as YouTube, suggest that these forms are becoming normative modes of public address and interaction. Gravity Art, curated by filmmaker Rene Daalder, is an exhibition that retroactively proposes a genre based on the idea of gravity as a medium. Operating in relation to Daalder's documentary on Bas Jan Ader, Here is Always Somewhere Else, and his website basjanader.com, this exhibition brings together several generations of conceptual artists through the unlikely, but perfectly obvious conceit of gravity. One dominant theme of Gravity Art is an interrogation of the legacy of Bas Jan Ader, the conceptual artist from the Netherlands who found himself in various art schools in Southern California in the late 1960's and early 1970's. The exhibition itself follows this trajectory: an exhibition at De Appel co-curated by Daalder in Amsterdam called Gravity in Art was a point of departure for this show at TELIC; many of the artists are Dutch; and Daalder himself emigrated from the Netherlands to Los Angeles around the same time as Ader. Gravity Art features work by Vito Acconci, Bas Jan Ader, Monsieur Moo, Johanna Billing, Lonnie van Brummelen, Daniel Devlin, Gino de Dominicis, Hege Dons Samset, David Horvitz, Friedrich Kunath, Gavin Maitland, Ari Marcopoulos, Liza May Post, Willem de Ridder, Pipilotti Rist, Fernando Sanchez, Wim Schippers and Wim Vanderlinden, Richard Serra, Pascual Sisto, Stelarc, Marco Schuler, Joel Tauber, Jacob Tonski, Tsui Kuang-Yu, Marijke van Warmerdam, Guido van der Werve, and Erik Wesselo."

Simone Forti/Jeremiah Day
"News Animations"/"No Words For You, Springfield"28 March - 3 May 2008
"Jeremiah Day is interested in resistance movements, as well as the flux of knowledge, stories and identity through the migration of people and histories. Day has been researching the movement of the people of the Blasket Islands off the Dingle Peninsula (Ireland), to the town of Springfield near Boston (USA) culminating in a complete evacuation of the Islands in the 1950s.
What we know of the poetic tradition of the Blasket Islands comes to us largely through the efforts of the English linguist George Thompson. In the story-telling of the Blaskets, Thompson felt he'd found a link with the pre-Socratic tradition of Greek epic poetry, where spiritual, personal, political and practical subjects were integrated, and thus the boundary between art and life could be said not to exist at all. Springfield has been largely in decline for fifty years now, a classic post-industrial American city. Can we imagine that any of the story-telling traditions of the Blaskets have lived on, there? And though the Blaskets are long deserted, what of the now developed Ireland around them? What does progress mean, from the lens of the Blasket tradition? "Poetry proper is never merely a higher mode of everyday language. It is rather the reverse: everyday language is a forgotten and therefore used-up poem, from which there hardly resounds a call any longer." Martin Heidegger

katt 6 csatornás videóinstalláció, loopMagyar Műhely Galéria 1072 Budapest, Akácfa u. 20. 2008. március 20-április 11.

Heiner Goebbels: Stifter's Dinge 15 - 27 April 2008
A co-commission by Artangel and Theatre Vidy-Lausanne
P3 Marylebone Road London NW1
Inspired by an eclectic range of influences and sources, international composer and director, Heiner Goebbels fascination with literature, politics and anthropology informs richly textured visual compositions that integrate classical, pop, jazz and traditional indigenous music. These vivid, otherworldly settings have often showcased exceptional players - from the Ensemble Modern to the Orchestra of the Age of Enlightenment.

Home Works IV: A Forum on Cultural Practices, April 12th to 20th, 2008, Beirut, Lebanon.
Ashkal Alwan, the Lebanese Association for Plastic Arts.
Venues: Masrah Al Madina (MM) Cinema Metropolis (CM) Sfeir Semler Gallery (SS) Planet Discovery (PD) Estral Center (EST) Agial Art Gallery (AG) Saint Joseph Church Crypt (SJC) Bernard Khoury Ateliers (BK).
The Home Works Forum is a multidisciplinary project that brings together artists, writers and intellectuals to present their work. Organized by Ashkal Alwan, it takes place every eighteen months in exhibition and performance venues throughout Beirut, and presents lectures, panel discussions, screenings, debates and artistic interventions (by established and emerging artists).
As a title, the term Home Works suggests an intertwining of public and private spheres, the outside world of work and the inside space of home. In referring to the exercises, lessons and research problems worked out by students repetitively and in solitude, Home Works implies a process of internal excavation, digging and burrowing deeper all the while constructing and accumulating new practices.
This fourth edition proposes for thematic axes disaster, catastrophe, recomposing desire and sex practices. From the experience of organizing three editions of the Home Works Forum, it is no longer self-evident to assume that such a platform make for true dialogue and cultural exchange possible. What it allows for however is a productive space in which political, social, economic realities can be explored, reflected, made manifest as visual and verbal articulations that occur with some consistency. These articulations have become our obsession.
ASHKAL ALWAN Phoenicia Str., Saab Bldg. #2, 4th Floor, Ain El-Mreisseh, Beirut, Lebanon

2008.03.19.-30. Joshua Birch és Daniel Turner: Debut / Rescue Video A Boulevard & Brezsnyev "örömmel mutatja be a Debut / Rescue című kiállítást, Joshua Birch és Daniel Turner amerikai alkotók új munkáit. A Király utcai galériatérbe a művészek egy olyan sorozatot alkottak meg, amely installációként is megállja a helyét. A zsákvászonra vakolattal készített festményektől kezdve a nagyméretű zászlókon és egy élő tobozos fán át egészen a tükrökkel vezetett fény- és különböző szöveges munkákig kerülnek installációra. Birch és Turner, vagy ahogyan ők mondják, Tirch és Burner immáron öt éve dolgoznak együtt a saját stúdiójukon kívül is. Az esztétika energiájával való kísérletező kedvük hozta őket össze, s a művészek most Budapesten találták meg helyüket, ahol a talált anyagok palettája új fejezetet nyit kultúrákon átívelő kísérletüknek. Birch és Turner érdeklődéssel dolgozik a terek és környezetek széles skálájával, Kalifornia strandjai, hegyei és farmjai, Virginia mocsarai éppúgy közel állnak hozzájuk mint a helyi programok és a különböző amerikai intézetekben bemutatott jelentős számú kiállítás. Mindkét művész komoly bajtársiasságot érez volt kollégáikkal, Turner festményei a virginiai Chrysler Múzeum falai között voltak kiállítva, Birch interaktív szobrokból álló sorozata pedig a san franciscoi Legion of Honor múzeumban kapott helyet."

Adrian Paci: Per Speculum March 13 - May 18, 2008
kép: Adrian Paci, Per Speculum, 2006. Courtesy of francesca kaufmann, Milan.
Bonniers Konsthall Torsgatan 19, S-113 90 Stockholm, Sweden
The Albanian-Italian artist's latest film takes the viewer to an ostensibly pastoral landscape, where some children play with mirrors, slingshots and reflections of the sun. The movie was shot in the summer of 2006 in Milton Keynes in England and is screened with a 35mm projector. Adrian Paci's latest film Per Speculum takes place in an idyllic landscape, more reminiscent of a fairy tale than reality. The camera pans over the billowing landscape, but soon focuses on a group of children dressed in timeless clothes. The image zooms out and it is revealed that this image of the children is enclosed within the frame of a large mirror. There they are caught in the eye of the camera and in the reflection from the mirror. A boy picks up a slingshot and releases a shot that shatters the glass of the mirror and the picture it has created. The landscape expands behind the mirror and shows that the children, like a picture in the picture, are captured in a representation of reality. A simple way of translating Per Speculum is "by means of a mirror". The allegorical film contains references to religion, art history and feature films. Towards the end of Per Speculum we see the children perching on branches high up in a tree. They are holding the shards of the mirror glass in their hands towards the camera and blind us with the reflections of the sun. The tree is an ancient Biblical symbol that has been used in art ever since the Middle Ages. The title of the film alludes to the Bible's First Letter to the Corinthians. Just like the Italian filmmaker Pier Paolo Pasolini, Adrian Paci has also become interested in sacred symbols that are seen, for example, in icon paintings. The children in Per Speculum are extremely similar to the artist's earlier sketches of film stills from Pasolini's films Decameron (1971) and The Gospel According to St. Matthew (1964), films that are actually tales from the Bible.

About Gasworks Founded in 1994, Gasworks is an art organisation based in South London, housing twelve artists' studios and proposing a programme of exhibitions and events, artists' residencies, international fellowships and educational projects. Gasworks focuses on visual arts practice in its broadest sense, working discursively with UK-based and international artists to facilitate the development of their work. Gasworks' programme is committed to providing a responsive context for the work of emerging and mid-career artists, and to disseminating critical practices to a wider audience. Gasworks is part of Triangle Arts Trust, an international network of artists and organisations. Gasworks 155 Vauxhall Street London SE11 5RH

Art in New York artkrush March 19-April 1, 2008

WARHOL'S JEWS: TEN PORTRAITS RECONSIDERED March 16 through August 3, 2008 The Jewish Museum NY
When it premiered in 1980, Andy Warhol's Ten Portraits of Jews of the Twentieth Century was met with both admiration and hostility. The series depicts such luminaries as Bernhardt, Einstein, Freud, and the Marx Brothers, among others. On view are photographs that Warhol used as source images, several preliminary sketches, a preparatory collage, an edition of the final silk-screen portfolio (of which 200 were published), and one of the five complete sets of paintings that he made for the series. Additional materials related to the portraits, including the list of nearly 100 famous Jews prepared by Warhol's dealer, and television coverage of the artist's trip to Miami for the world premiere of the series, will shed light on their creation and display. ART, IMAGE AND WARHOL CONNECTIONS Presented concurrently with Warhol' s Jews, this mini-exhibition features works by artists who directly respond to Andy Warhol or employ techniques often associated with Warhol's oeuvre. Warhol and themes central to his practice such as current events, consumer culture and the superstar, are seen reflected through 26 works by a multi-generational group of artists, including Deborah Kass, Alex Katz, Abshalom Jac Lahav, Adam Rolston, Ben Shahn, Devorah Sperber, and June Wayne."

# posted by sine : 9:25 AM

“Scientific documentation, creation of internet promotion and digital repository infrastructure, and utilization of the collections and archives of the State Museum of Contemporary Art”
2300 works of the Costakis Collection and Archive as well as of the Museum’s Greek Collections were digitized and documented. A new portal has been established and is about to function fully within this month, while the educational CD addressing to students is already being distributed to relative Institutions, Schools, Universities etc. Costakis Collection is representative of all artistic movements and trends of the Russian Avant-Garde, one of the most innovative and interesting artistic periods of the world art, which flourished in Russia during the first three decades of the 20th century. The collection consists of 1277 works of art (paintings, designs, constructions, porcelains e.a.) and rich documentary material of Russian avant-garde artists such as K. Malevich, L. Popova, V. Tatlin, A. Rodchenko, I. Kliun, G. Klutsis, S. Nikitrin, O. Rozanova, V. Stepanova, M. Matiushin, P. Filonov e.a. The Greek Government purchased the Costakis Collection in 2000 and after the decree of the Ministry of Culture it came into the S.M.C.A.’s possession.

The web magazine, Rosa B, is a new space for reflection and discourse on the cultural practices of today. The web magazine, Rosa B, is a new space for reflection and discourse on the cultural practices of today. By choosing the medium of digital creation and the Internet rather than paper as the means of circulation, Rosa B believes that an innovative writing criticism, with temporal spaces and devices is better suited and the only possible text to reflect art today. Rosa B encourages approaches that are liberated, more inventive, less formatted.

Hámos Gusztáv: A sziget fele nem félsziget, 2008 március 14-én 18.00-kor nyílik a Pixel Galériában, (Millenáris, Budapest), még: cinovid, balkon-2001, c3/Hamos

TEXTE ZUR KUNST
March 2008 / Issue No. 69
“ABSTRACTION” Investigating “Abstraction” both as visible form and as hidden social structure, both in artistic practices and in the increasingly “culturalized” economy in general, the contributions gathered in this issue attempt to go beyond established critical and art-historical parameters by exploring and exploiting -- rather than negating -- the specifics of modern and contemporary art production, distribution and reception.

# posted by sine : 8:19 AM

tillmann tilos hangok

Deleuze abc, ua video a1, a2, boisson1, b2, a3, a4, a5, c1, c2, c3, d2, d3, d1, e3, e2, e1,

Jean Eustache: A mama és a kurva (1973)

deleuze nomaditás, a nomád élet fragmentalitása

a növekvő napok népe, lettre 61.

peter hoeg akik talán rátermettek, a hó hatalma (film)

lawrence norfolk a lempriere lexikon

máris szomszéd mint advocatus diaboli, kétdimenziós eszperente jelenet

kardos botond nürnberg (róla T J A)

feyerabend, guy debord (a spektákulum társadalma)

kreatív írás

Labels: mke

# posted by sine : 8:18 AM

Blanton WorkSpace: In Katrina’s Wake February 16 - May 25, 2008
Willie Birch: Going Home, 2005, Acrylic & charcoal on paper, 72 x 72 inches
Courtesy the artist and Arthur Roger Gallery, New Orleans
„In Katrina’s Wake examines responses of thirteen artists or collectives to the devastation of the storm and subsequent levee breaks in New Orleans and explores the role that artists currently play in rebuilding the community. Many resident artists and a number of those observing from outside have been moved by the urgent need for individual and community relief and recuperation and have directed their work to address these immediate social and spiritual concerns. Whether through the commissioning of new cultural experiences that provide public forums for discussion and reflection, the inauguration of creativity workshops to provide encouragement for young people, or simply the creation of works that attempt to chronicle and interpret the experience of catastrophe, artists have been valiant forces in the nascent recovery of community-wide health and the forging of a future vision.”

Flash Art International No.259
(March - April 2008)

artkrush: New Art from India, March 5-18, 2008

Informed by Function Feb. 6 - May 15, 2008
Lehman College Art Gallery, Bedford Park Boulevard West, Bronx, N.Y. 10468
Marc Andre Robinson (right), Throne for the Songs That Will Come by Themselves and of Themselves, 2008

# posted by sine : 11:44 AM

Bodóczky István: Traumdeutung/Álomfejtés, 20080301-0413 székesfehérvári Szt. IstvánKirály Múzeum
„1900-ban jelentette meg Sigmund Freud Traumdeutung (Álomfejtés) című könyvét, amelyben lefektette az álomfejtés pszichoanalitikus modelljét. Eszerint az álom a tudatalatti (elfojtott) tartalmak rejtélyes kifejeződése. Alváskor az ébrenléti állapotban fenntartott represszió csökken, emiatt a tudatba áramolhatnak az álommunkának köszönhetően szimbolikus tudatalatti tartalmak. Carl G. Jung szerint az egyénre jellemző tudattalan mellett komoly szerepet játszik a kollektív tudattalan, melynek tartalmai éppúgy formálják álmainkat, mint az egyéni vágyak, elfojtások, élmények, tapasztalatok. Azt is mondják, az álmok kreatív megoldásokat kínálnak érzelmi és intellektuális problémákra. Az biztos, az álmok kapuja a titkok birodalmának kapuja, s hogy a sok álom-elmélet csupán a titokzatosság okán hozható közös nevezőre. Vijai Shankar épp azt állítja, hogy az „élet nem megismerhető. Az álom megismerhető. Amit ismerünk az mindig álom. Az élet rejtély; mindig is az volt és az is marad. Ez a rejtély értelmezi önmagát és ez az értelmezés lesz az álom. Az álom valósnak tűnik az ébrenlét során és illuzórikusnak amikor alszunk. De lehet-e egy álom valós? Honnan tudjuk, hogy az a rejtélyes forrásból származó interpretáció-manifesztáció egy álom?” Egy, az Álomfejtés című műcsoport nevének a kiállításra történő kiterjesztése utal arra az analógiás kapcsolatra, amely álom és alkotás között fennáll, s arra, hogy mind az álmok, mind a műalkotások titokzatosak és megfejtésre várnak.”

Luc Tuymans - Műcsarnok, Vágatlan változat (ernst múzeum)(színerő)

wim delvoye - ernst

laza lazúr és düh meg bánat hajdu istván cikke (mancs)

Boltanski, ubuweb

Pompidou Centre

Centrális galéria, divide 2004.0615-0829.
„A második intifáda 2000 szeptemberi kirobbanása óta jelentősen megnőtt az izraeliek elleni palesztin támadások száma. A palesztinok Ciszjordániából Izraelbe való ellenőrizetlen átjárását és ezáltal további támadásokat elkerülendő, az izraeli kormány 2002 júniusában úgy határozott, hogy egy fizikai védőkerítést/falat épít a "zöld vonal" (az 1949-es tűzszünet vonala) mentén. A védőkerítés/fal tervezett útvonala azonban sok helyen behatol Ciszjordánia területére és gyakorta kisjátított magántbirtokokon halad át, jelentősen korlátozva a palesztin lakosság mozgásterét. Helyenként palesztin városokat és falvakat elszigetelt enklávékká alakít át, és elválasztja a gazdákat saját földjeiktől és ivóvízforrásaiktól. Ráadásul, a fő védvonaltól keletre további, másodlagos védőkerítés/fal és egyéb akadályok telepítését is tervezik. A védőkerítés/fal gyakolatilag egy 50-100 m széles, fizikai akadályokból álló komplex rendszer. Ennek jelentős részét egy három méter magas, elektromos kerítés alkotja, amely helyenként 8 m magas betonfalban folytatódik, és amelynek mindkét oldalán szervíz- és járőr utak, mély árkok és nyomrögzítő homoksávok, szögesdrótkerítések és biztonsági kamerák találhatók. A védőkerítésen/falon több ellenőrző kapun keresztül lehet majd átkelni. Egy kilométernyi védőkerítés/fal megépítésének becsült költsége 1,8 millió euró. A tervezett 660 km-ből mostanáig mintegy 200 km készült el. "Egy fal kezd kialakulni előttünk, és alakja aszerint változik, hogy az általunk elmesélt történet a fal melyik oldalára helyez bennünket", írta egy teljesen más kontextusban Robert M. Cover jó húsz évvel ezelőtt. Valóban, a védőkerítéssel/fallal kapcsolatos közbeszéd is hasonlóan működik. Nem kétséges, hogy a védőkerítés/fal építése fontos fordulópontja az izraeli-palesztin konfliktusnak. Jelenleg nehéz megjósolni, hogy hosszú távon nyugalmat hoz vagy tovább szítja az ellenségeskedést. Amit most biztosan tudunk az az, a védőkerítés/fal épül és alapvetően - bár remélhetőleg nem visszavonhatatlanul - megváltoztatja a fizikai és szellemi tájképet Izrael és Palesztína között, csakúgy mint e két területen belül is. A Nyílt Társadalom Archívumnak (OSA) erről a komplex védelmi rendszerről - amelyet egyaránt neveznek védőkerítésnek és elválasztó falnak - szóló kiállítása a folyamatban lévő építkezés társadalmi, környezeti, építészeti, jogi/emberi jogi vonatkozásait vizsgálja. A kiállítás megpróbálja az építményt különféle kontextusaiban bemutatni, érzékeltetni, hogy milyen a válaszvonal különböző oldalain élni, és objektíven megjeleníteni a főbb szereplők álláspontját. Mindezt olyan eredeti dokumentumok, kiadványok, jelentések, térképek, fotók, műholdas felvételek és videók felhasználásával, amelyeket az OSA hivatalos kormányzati szervektől, különféle emberi jogi szervezetektől, fotósoktól, filmkészítőktől, az áldozatok családtagjainak egyesületeitől, békeaktivistáktól és művészektől kapott.”

lazúr, verebics, chilf, moizer

beuys 100 napos szabadegyetem a dokumentán, freie internationale universitat

Albert-László Barabási: Behálózva

ben vautier („QU'EST CE QUE L'ART ? l'art est une question de signature et de date”)

kicsiny balázs, tallinn: estonian academy of arts (eesti kunstiakadeemia), chelsea college of art,
chelsea2
Michael Schwab
Kuvataideakatemia (Helsinki)
Észt Művészeti Akadémia, Faculty of Fine Arts
Research at the Finnish Academy of Fine Arts: The Artist's Knowledge (pdf)

Labels: mke

# posted by sine : 11:18 AM

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NOH SUNTAG, State of Emergency
March 1 - May 18, 2008
Württembergischer, Kunstverein Stuttgart, Schlossplatz 2
NOH Suntag, Black Hook Down, Photo series, 2006

From March 1 to May 18, 2008, Württembergischer Kunstverein in Stuttgart is presenting the first comprehensive solo exhibition of the South Korean photo artist NOH Suntag in Europe. The show will feature about 200 photographs. NOH, born in Seoul in 1971, ranks among the most advanced photo artists in South Korea, his works having attracted great attention there in recent years. Among other shows, he took part in the Gwangju Biennale in 2006. The exhibition showcases works from between 2000 and 2007.
His series, which he usually develops over the course of several years and that consist of black-and-white as well as colour photos, observe conflict situations in contemporary Korean society. These conflicts go back to the division and war between North and South Korea, to the dictatorships in both parts of the country that lasted till the 1980s, and – in South Korea – to rampant turbo-capitalism since the 1990s. The picture that NOH draws of Korea is that of a constant state of emergency.
NOH, who creates his photographs in North and South Korea, is interested in the ambivalences and breaks within and between the two societies: their mirror relationship, the military presence and ideological extremes on both sides, the relationship between the individual and the masses, or the situations – both subtle and openly violent – that pervade everyday life in the South and the North alike.
This ambivalence is reflected in NOH’s very individual aesthetic, that combines the documentary with the fictitious, the snapshot with stringent composition. The harsh contrasts amplify the drama of the mostly conflict-laden situations that he depicts – a drama that is, at the same time, countermanded by the sobriety and detachment of his gaze. As a result of being integrated in series, the perfection of the single picture must be seen in perspective. Far removed from the aesthetics and strategies of staged photography, they nevertheless appear posed. They remind us of film scenes or apply aesthetics of fashion photography as well as traditions of pathos-laden landscape photography. It is precisely this unclassifiable, contradictory aspect that distinguishes NOH’s photographs.

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Classical : Modern II. Abstraction, Informel, Stuttgart and Karlsruhe Painting School
March 7 - June 1, 2008
Daimler Contemporary, Haus Huth, Alte Potsdamer Straße 5, 10785 Berlin
Ill.: Domnick Foundation in the Staatsgalerie Stuttgart, 1952. Photograph: Dr. Seifert Stuttgart

The Daimler Collection is pleased to announce the exhibition “Classical Modern II” at Daimler Contemporary, Haus Huth, Potsdamer Platz in Berlin. The “Classical : Modern I” exhibition, 2006, largely presented concrete and constructive tendencies in the Daimler Collection from Classical Modernism up to the post-war art period, while the second part of the series intends to introduce the complementary areas of the collection. The exhibition shows post-war tendencies, mainly from South Germany. Art history groups the names of the artists, about forty in all, from Ackermann to Zangs, under headings such as ‘Lyrical Abstraction’, ‘Informel’, ‘Tachism’, the ‘Stuttgart’ and Karlsruhe’ schools, ‘New Figuration’ ‘Zero’ and ‘Zen 49’. The show features about 80 works and is also presenting current work that can be related back to these earlier artists.
Participating artists: Max Ackermann, Horst Antes, Willi Baumeister, Bernd Berner, Erdmut Bramke, Peter Brüning, Karl Fred Dahmen, Herbert Egl, Günter Fruhtrunk, Rupprecht Geiger, HAP Grieshaber, Otto Herbert Hajek, Bernhard Heiliger, Jan Henderikse, Gerhard Hoehme, Alfonso Hüppi, Norbert Kricke, Dieter Krieg, Uwe Lausen, Thomas Lenk, Heinz Mack, Georg Meistermann, Georg Karl Pfahler, Charlotte Posenenske, Lothar Quinte, Otto Herbert Ritschl, Rudolf Schoofs, K.R.H. Sonderborg, Walter Stöhrer, Artur Stoll, Heinrich Wildemann, Christa Winter, Fritz Winter, Lambert Maria Wintersberger, Herbert Zangs

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Print the Legend, The Myth of the West, 1 March - 4 May 2008
artists: Adam Chodzko, Peter Granser, Douglas Gordon, Isaac Julien, Mike Nelson, Cornelia Parker, Simon Patterson, Salla Tykkä and Gillian Wearing
Douglas Gordon: Five Year Drive-By (The Searchers), 1998, Video projection
Copyright: Douglas Gordon.
Courtesy Gagosian Gallery from The Searchers,
1956, dir. John Ford, Warner Bros. Studios
Copyright: Warner Home Video

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Opening at The Aldrich: Painting the Glass House: Artists Revisit Modern Architecture
Sunday, March 9, 2008; 3 to 5 pm, 2 pm Panel Discussion
Round-Trip Transportation from NYC Available
David Claerbout, The Bordeaux Piece, 2004
Courtesy of the artist and Yvon Lambert, Paris/New York
On View at The Aldrich Contemporary Art Museum (Ridgefield, CT)

Painting the Glass House: Artists Revisit Modern Architecture—curated by Jessica Hough and Mónica Ramírez-Montagut—will open at The Aldrich on Sunday, March 9, 2008.
The exhibition brings together two-dimensional works (including video) in various media by Alexander Apóstol, Daniel Arsham, Gordon Cheung, David Claerbout, Angela Dufresne, Mark Dziewulski, Christine Erhard, Cyprien Gaillard, Terence Gower, Angelina Gualdoni, Natasha Kissell, Luisa Lambri, Dorit Margreiter, Russell Nachman, Enoc Perez, and Lucy Williams—a collection that explores an interest among emerging artists in architecture of the modern period.
Modern architecture is generally identified with buildings by Le Corbusier, Philip Johnson, Mies van der Rohe, and Frank Lloyd Wright, which represent a period driven by developments in technology, engineering, and the introduction of industrial materials such as iron, steel, concrete, and glass. Architects at this time engaged in a practice that not only incorporated structural innovations, but also encouraged social change.

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OPEN / INVITED e v + a 2008
Too Early For Vacation
March 7 - May 25, 2008
City-wide venues in Limerick City, Ireland
Ruth LeGear: tear drops in wonderscape, mixed media installation

Too Early For Vacation A short introduction by Hou Hanru

”Conventionally, Ireland has been seen as an exotic, idyllic and even somehow a spiritual destination for a vacation… Limerick, a “remote” city situated in the Mid-West of the country, is certainly one of the most desired places on the tourist map. For the last decade, this city and the surrounding region, like the whole country itself, have entered a process of renaissance, thanks to their embracing of new technologies and their integration into the global economy. But, few have imagined that this rather small city can be a vibrant site of production of contemporary art.
However, for the last three decades, Limerick has been holding the most significant contemporary art event in Ireland. Over the years, e v+ a has become a major and unique international exhibition. Yet as an event it has remained persistently rooted in the local context, at once modest, intimate, ambitious and generous as it constantly negotiates global influences including the new ideas, projects and energies that have been brought in by artists and curators from different parts of the world.
The fundamental change in the nature of contemporary art from quasi-underground, activist and avant-garde activities in the 1970s when e v+ a was founded to becoming a part of the late-Capitalist and consumerist cultural establishment has actually launched an intellectual, ethic and even political challenge to the art world itself. Then, what’s the real social significance of contemporary art today? How can a firmly grass-rooted event like e v+ a still make sense in the age of globalisation, dominated by certain established but limited models of production, representation and consumption, and yet continue, as well, to engage itself in the transformation of local reality?
In this context, coming to work for, visit and appreciate e v+ a today needs an even more intimate and active engagement with the local reality, both physical and cultural, both personal and social… Certainly it involves travels from different parts of the world and contacts with various forms of creation. However, it’s by no means merely a simple vacation to be spent in this beautiful town of Ireland – a vacation has a double implication: holidays and vacating (escaping) from reality. Instead, it must be actions of engagement… Pressing issues related to the transformation of today’s globe such as border crossing, migration, travel, exchange with the ‘other’, cultural and geopolitical confrontation and dialogue, etc. are obviously the issues that occupy the centre of this kind of local-based intervention.
Welcome to Limerick. But, it’s too early for vacation… or - it’ll never be a vacation.”

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the artist talk “The turn of images” at Thursday 28th of Feb. 2008 in Kunstverein INGAN.

The video artist Claudia Michaela Kochsmeier is to present her current project TANZ PLEXUS, which has been produced in Senegal during her three month stipend from DAAD. C.M. Kochsmeier: "In this Plexus, in this netting, images are turning upside down and will be seen differently" (Talk basically in German)

# posted by sine : 8:56 AM