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Paul Ramirez Jonas na Galeria Nara Roesler

21/03/2013

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Últimos dias para conferir a exposição Assembleia, de Paul Ramirez Jonas na Galeria Nara Roesler, SP. Segue o texto do Pablo Helguera que eu peguei lá no site da Nara.

Assembleia

O conjunto da obra de Paul Ramirez Jonas – cujo reconhecimento internacional já lhe rendeu participações nas bienais de Veneza e São Paulo, entre outras – é frequentemente marcado pela consciência do coletivo. Isso é, no entanto, tão enraizado em seu pensamento artístico que suas estratégias fogem aos procedimentos colaborativos usuais da arte contemporânea; o artista não apenas confere ao público o papel ativo na construção do sentido dos trabalhos, mas verdadeiramente reflete as complexidades da esfera coletiva e faz delas premissa de suas criações.

Um aspecto dessa preocupação, que se apresenta discreta graças ao caráter irônico de sua poética, foi bem comentado por Pablo Helguera, artista mexicano e diretor acadêmico do MoMA (NY), convidado a assinar o texto crítico da exposição: “…este interesse não contém apenas a dicotomia entre pessoal e público; parece desejar um certo anonimato que, embora pessoal, é conferido pela presença da mensagem em público.” Como caso exemplar, o autor cita os monumentos feitos de cortiça, representados na mostra da Galeria Nara Roesler por um busto – tanto o uso do material prosaico para uma forma geralmente feita em metal ou pedra quanto a presença de um corte que impossibilita a identificação do retratado, subvertem o caráter sempre cerimonioso, afirmativo e simbolicamente inerte do busto. A peça de Ramirez Jonas, não por acaso chamada Ventriloquist, é quase uma transfiguração do mural de recados em cortiça. Um “monumento” parecido, um cavalo em cortiça, foi apresentado na Pinacoteca do Estado de São Paulo em 2011.

Em outras peças, é o caráter coletivamente constituído da cultura que entra em questão, como em Assembly (Ghazi Stadium), uma série de painéis que compõem a imagem aérea de um estádio de futebol a partir da justaposição de milhares de ingressos de diferentes cores. Cada individualidade ali representada por um ticket sugere distintos potenciais de participação social (fato especialmente eloquente por se tratar de um estádio afegão, palco de esportes mas também de manifestações políticas).

No caminho oposto, mas igualmente crítico, está Registered, obra em que etiquetas, como aquelas usadas para exibir os nomes de pessoas em eventos empresariais, lembram o anonimato que emerge das formas padronizadas de identificação pessoal. Nas duas obras, é possível notar sugestões de respostas abertas a perguntas que menciona Pablo Helguera, “tal como definir o que é uma democracia funcional nos dias de hoje. Como podemos nos unir por um propósito comum sem nos perder nesse processo? Como a arte pode nos ajudar nesse processo?”

Um exemplo mais sutil (e talvez por isso ainda mais rico em interpretações) de indagação inconclusiva é Declaration, trabalho que o artista provocativamente afirma se constituir da única nota e da única palavra de uma nova canção. Um assertivo trompete e uma veemente bandeira são destituídos de suas naturezas usualmente assertiva e veemente: o trompete é suporte para a palavra open – o instrumento não emite som, serve apenas de mastro, e a palavra grafada não se afirma em nenhum sentido determinado. Fica a dúvida se se trata de um manifesto por abertura espiritual, ou mesmo se estamos diante do anúncio de um empreendimento comercial recém-inaugurado.

Estas são apenas alguma das instigantes ausências de respostas conclusivas que essa obra possibilita. No texto curatorial, escrito em forma de carta ao artista, Helguera analisa: “Não existem fórmulas, nem deveriam existir; não existe permanência ou estabilidade nessas respostas, assim como o tamanho, peso e indestrutibilidade de um monumento não garantem sua importância. O que devemos fazer é buscar aqueles momentos de clareza que se alcançam assim como você o faz, ao complicar nossa relação com o público, com o passado, com aquilo que julgávamos ter sido completamente compreendido.”

Sobre o artista

Paul Ramirez Jonas nasceu em 1965, em Honduras. Vive e trabalha em Nova York, Estados Unidos. Participou da 53ª Bienal de Veneza, Itália (2009); da 6ª Bienal de Xangai, China (2006); da 28ª Bienal de São Paulo (2008) e da 7ª Bienal do Mercosul, em Porto Alegre (2009), ambas no Brasil. Exposições coletivas recentes de que participou incluem: Caribbean: Crossroads of the World, em El Museo del Barrio (2012) e An Exchange with Sol LeWitt, Cabinet (2011), ambas em Nova York, Estados Unidos; Cage Mix: Sculpture & Sound, no Baltic Center for Contemporary Art, em Gateshead, Reino Unido (2010); e The Quick and the Dead, no Walker Art Center, em Minneapolis, Estados Unidos (2009). Suas mais recentes mostras individuais são: Publicar, na Pinacoteca do Estado de São Paulo, Brasil (2011); Key to the City, Creative Time (2010) e Alexander Gray Associates (2009), ambas em Nova York, Estados Unidos. Suas obras fazem parte de coleções como as de: Blanton Museum, em Austin; Bronx Museum, New Museum e Albright-Knox Art Gallery, todos em Nova York, Estados Unidos; Malmö Konstmuseum, em Malmö, Suécia; e Itaú Cultural, em São Paulo, Brasil.

Sobre o autor do texto crítico

Pablo Helguera nasceu em 1971 na Cidade do Mexico. Estudou na School of Arts Visual, University of Mexico e na Faculty of Fine Arts, University Barcelona e na School of Arts, Instituto of Arts, Chicago. Trabalha com desenhos, colagens, instalações, filmes, e performance, além de utilizar palestras e conferências como parte de sua obra. Seus temas são história, pedagogia, sóciolinguista, etnografia e memória, tecendo relações entre história cultural e linguagem. Helguera vive e trabalha em Nova York e é diretor acadêmico do MoMA. Como artista, participou das Bienais do Mercosul e de Havana, e foi bolsista da Guggenheim Foundation.

Serviço:

Assembleia | Paul Ramirez Jonas

Abertura: dia 21.2, às 19h

Exposição: de 22.2 a 24.3.2013

De segunda a sexta, das 10 às 19h – sábado, das 11 às 15h

Galeria Nara Roesler: Av. Europa, 655 – Jardim Europa

Tel 11 3063.2344

Abstraction may be modernism’s greatest innovation…

21/03/2013

lá no www do MoMA tem um site sobre a exposição cheio de videos etc, confere lá.

In 1912, in several European cities, a handful of artists—Vasily Kandinsky, Frantisek Kupka, Francis Picabia, and Robert Delaunay—presented the first abstract pictures to the public. Inventing Abstraction, 1910–1925 celebrates the centennial of this bold new type of artwork, tracing the development of abstraction as it moved through a network of modern artists, from Marsden Hartley and Marcel Duchamp to Piet Mondrian and Kazimir Malevich, sweeping across nations and across media. The exhibition brings together many of the most influential works in abstraction’s early history and covers a wide range of artistic production, including paintings, drawings, books, sculptures, films, photographs, sound poems, atonal music, and non-narrative dance, to draw a cross-media portrait of these watershed years.

Organized by Leah Dickerman, Curator, with Masha Chlenova, Curatorial Assistant, Department of Painting and Sculpture.

FC/RIO #5 – Barnbilônia ou HO em NY – Primeiras Anotações

21/03/2013

FC/RIO

Enviei email ontem aos correspondentes aqui do b®og (FC RIO + JC/LA/CA + MC LDN) solicitando novos textos e uma participação mais frequente. Frederico Coelho prontamente atendeu o chamado e nos enviou suas anotações sobre H.O. (Na barra lateral direita do b®og tem uma apresentação do Fred pra quem ainda não conhece a figura)

Barnbilônia ou HO em NY – Primeiras Anotações

A relação de Oiticica com Nova Iorque começa em uma breve visita durante o ano de 1969, quando ele e Lygia Clark voltavam de um seminário sobre BodyArt em Los Angeles. Hélio visita alguns amigos que já moravam na cidade, como Rubens Gerchman. Na sua visita ao loft em que o pintor carioca morava, conhece os críticos Roberto Schwarz e Silviano Santiago, de quem se tornaria grande amigo nos anos seguintes.

Em 1970, Oiticica participa ao lado de Cildo Meireles e Guilherme Vaz da famosa coletiva internacional Information, realizada no MoMA. Envia seus Ninhos, trabalhos fundamentais para sua trajetória e que estavam presentes na sua primeira e única grande individual na Whitechapel Gallery.

No mesmo ano, recebe uma bolsa da Fundação Guggenheim para morar em NY e executar trabalhos durante dois anos. Fica sete, ou seja, cinco anos sem visto permanente e, de certa forma, ilegal. Faz milhares de projetos, maquetes, proposições, textos, filmes, mas não apresenta nenhuma obra para a Fundação.

Em Janeiro de 1971 já se encontra habitando o seu primeiro apartamento na cidade, o Loft 4 da Second Avenue com 8th Street. Anos depois, por volta de 1974, ele sofre um assalto e se muda para outro apartamento, na Christopher Street, coração do Greenwich Village. Nos sete anos que mora na cidade, Oiticica não foi a nenhum outro país ou até mesmo a outro estado norte-americano. Também não voltou um dia sequer ao Brasil. Apenas em janeiro de 1978 ele volta ao Rio para morar no Leblon, primeiro na Carlos Góis e depois na Ataulfo de Paiva, endereço em que falece em 1980, vítima de derrame.

A vida profissional de Oiticica em Nova York tem como epicentro uma massa gigantesca de escritos e documentos deixados por ele em seu arquivo. Entre 1971 e 1978, ele escreveu incessantemente em cadernos, fichas, folhas avulsas, tirou fotos, gravou sons, filmou ruas e ideias, bolou livros, filmes, obras e trabalhos grandiosos. Qualquer pesquisa sobre sua obra será sempre baseada nessa documentação que Oiticica nos legou. Documentos que apontam para a presença das ruas e vidas que circulavam por Manhattan (ao menos pela Manhattan de Oiticica). Neles, podemos ler a sua permanente reflexão sobre o Espaço como um dos conceitos definidores de sua obra.

Oiticica traçou alguns eixos de circulação por Manhattan. Tinha em suas andanças seu próprio território. Não que deixasse de andar por toda a Ilha, mas ele teve relações mais orgânicas com certos espaços. Um deles, seguindo a tradição marginal de sua biografia, eram os mergulhos nos bairros do Harlem e do Bronx. Lembremos que a Manhattan de Oiticica não é a cidade mundial perfeita, segura, plena de serviços, arte, mercado e entretenimento na medida certa para tudo e todos. Em 1971/1977 Manhattan era uma ilha inóspita, falida, segregada e plena de barris de pólvora, grupos de estrangeiros guetificados, gangues, tráfico de drogas e perda de relevância política dentro do país.

Circular pelo Harlem e pelo Bronx no período de Oiticica, portanto, era como circular no eixo-Favela da Mangueira-Morro dos Macacos durante os anos 1960 no Rio de Janeiro. Foi lá nessas regiões da ilha que ele tirou fotos famosas, promovendo experimentos com seus Parangolés. Lá também viu o nascimento do grafite e da arte urbana, conheceu os grupos de poetas negros como Last Poets ou o grupo de porto-riquenhos chamados Young Lords.

Oiticica, por uma questão também ligada ao seu universo sexual, conhecia jovens que viviam o submundo da cidade. Seu envolvimento com o tráfico de drogas local devido ao uso pessoal constante de cocaína durante alguns anos potencializava essas circulações outsiders pelos lados não-brancos da cidade. No final das contas, ele também era um estrangeiro, um latino, um imigrante ilegal como todos os outros.

A Outra Manhattan de Oiticica também transitava por uma cidade fronteiriça, a parte gay e, chamemos assim, alternativa do Downtown. Era por esse espaço da cidade, entre o SoHo e a 14th Street, que pessoas tão variadas e brilhantes como Andy Warhol, Lou Reed, o cineasta Jackie Smith, Philip Glass, Candy Darling, Patti Smith, Robert Mapplethorpe, Mario Montez, Keith Harring, Chuck Close, Arto Lindsay, os atores do Living Theater ou bandas como New York Dolls, Television e Ramones trabalhavam, almoçavam, bebiam e criavam. Era o local de bares famosos como o Max Kansas City, das novas galerias, dos imensos Lofts doados de graça pela Prefeitura de Nova York para a ocupação de artistas como Richard Serra e Gordon Matta-Clark.

Oiticica viveu com intensidade essa vida da rua na chamada Downtown Art Scene de Manhattan. Entre 1965 e 1975 esse espaço no sul da Ilha que hoje é o milionário e gentrificado SoHo (com suas subdivisões), concentrava a transgressão e a criação de uma era. No caso de Hélio, apesar de não ter se tornado um “Nome” dessa cena, era provavelmente excitante circular entre e conhecer algumas dessas pessoas. Há várias de suas história privadas de encontros que vão de noitadas com Jackie Smith a porres com Alice Cooper.

Além disso, a música ocupa um grande espaço de interesse em sua vida e ele morava literalmente colado a um dos grandes palcos da cena nova-iorquina da época que era o Fillmore East. Oiticica vai três dias seguidos nos famosos shows que os Stones deram no Madison Square Garden em 1972. Na porta de sua casa na Christopher Street tinha um pôster de Jimi Hendrix que era a senha para o caráter das pessoas: quem soubesse o personagem da imagem, tinha livre entrada em sua casa. Quem não soubesse, nem passava da porta.

Outro espaço urbano de Nova York que Oiticica se espraiou com gosto foi a região de Wall Street. Por diferentes motivos, filmou e escreveu sobre o pedaço mais ao sul de Manhattan. Em seu filme incompleto Agripina é Roma Manhattan, ele planeja um roteiro que criasse o diálogo entre a Wall Street do seu tempo e a mesma região citada pelo poeta maranhense Sousândrade em seu famoso poema épico O Guesa e especialmente no canto “O Inferno de Wall Street”. O título do filme, aliás, é uma frase do poema de Sousândrade. Hélio não só filmou a região como criou obras e diálogos textuais com cemitérios e Igrejas do bairro, além de fotografar alguns de seus parangolés nova-iorquinos ao pés das, na época, imponentes e recém-inauguradas torres do World Trade Center.

TROCHE lança livro

19/03/2013

www.portroche.blogspot.com

Em janeiro de 2011 eu descobri os desenhos de Gervasio Troche e publiquei aqui no b®og um pequenino post. Hoje recebi um email de Troche anunciando seu novo livro chamado Dibujos invisibles editado pela Sudamericana.

Troche dibuja a mano, artesanalmente.

Pocos elementos: un tarrito de tinta, un pincelito y agua.

Eso es todo. No necesita más para hipnotizarnos.

Como a los buenos cantautores, le basta un instrumento para poblar de magia las horas.

Equilibristas, violinistas, árboles y pájaros, linternas, lluvias y estrellas, sombras, hombres y mujeres, son algunos de los actores de sus páginas.

Nos interrogan sin querer. En silencio.

Tute

La honestidad no se puede fingir y menos aún en un dibujo.

Por eso, me atrevo a decir que estos dibujos también son invisibles

porque dejan ver a una persona que no esconde sus sentimientos.

Troche es un soñador, un hombre con una misión que trasciende las

rutinas de nuestras vidas.

Kioskerman

TIMELINE #2

18/03/2013

TIMELINE

Carlito Carvalhosa / Sala de Espera no MAC USP

17/03/2013

O grande Carlito Carvalhosa me mandou agora fotos da sua exposição Sala de Espera no novo Museu de Arte Contemporânea da USP no parque Ibirapuera. Tá grande, tá bonito. Quero ver de perto.

Ragnar Kjartansson @ NYT

16/03/2013

Never Tiring of Repeating Himself

By HILARIE M. SHEETS

Published: JAnuary 2, 2013

IN “The Visitors,” a nine-screen video installation by Ragnar Kjartansson that will have its first American showing next month, the artist lies in a pedestal bathtub almost in a trance, strumming a guitar as he repeatedly sings a refrain, “Once again, I fall into my feminine ways.” Over the course of an hour his voice falls and rises, on its own and in unison with performers on the other eight screens — each seen as if in a painting, playing an instrument in a different room of a beautiful, run-down mansion and singing the same enigmatic refrain at a dirgelike pace.

Last August the nine performers gathered in a room of the mansion, two hours north of New York City in the Hudson Valley, to rehearse. “The Visitors” would be shot later that week in a single take, with nine cameras distributed around the house, but that day they simulated being in separate rooms by avoiding eye contact.

To one onlooker what was most striking was the extraordinary emotional range and intensity of their performances. Limited to just a few simple lyrics, which they repeated dozens of times, the singers created an entirely absorbing ensemble piece that was alternately tragic and joyful, meditative and clamorous, and that swelled in feeling from melancholic fugue to redemptive gospel choir.

It was not the first such work for Mr. Kjartansson (his name is pronounced RAG-ner kuh-YART-un-sun), an Icelandic artist who, at 36, has spent more than a decade exploring the potential of repetitive performance to yield unexpected meanings, and who has lately become one of the most celebrated performance artists anywhere. In 2009 he was the youngest artist ever to represent Iceland at the Venice Biennale, and two years later his piece “Bliss” won the Malcolm Award for the most innovative work at Performa, the three-week performance art biennial in New York. His traveling museum survey, “Song,” is at the Institute of Contemporary Art in Boston through April 7, and his second solo show at the Luhring Augustine gallery in Chelsea, featuring “The Visitors,” will open Feb. 1.

His wide appeal, many admirers say, lies in an ability not just to invoke the deep existential concerns of much endurance-based performance art — anxiety, ennui, other discomfort — but also to push beyond them, toward joy.

“He’s someone who understands theater, who understands drama, who understands pleasure and wants the viewer to have a great pleasure,” RoseLee Goldberg, the director of Performa, said in a telephone interview. “Most of us think of performance based on the 1970s — difficult, politically engaged.” But a work like “Bliss” — in which Mr. Kjartansson and a group of Icelandic opera singers repeated the final aria in Mozart’s “Marriage of Figaro” for 12 hours with full costumes, set and orchestra — represents “endurance at a level of sheer ecstasy,” she said.

Mr. Kjartansson’s understanding of theater runs deep: his mother, Guorun Asmundsdottir, is a well-known actress in Iceland and used to perform with his father, Kjartan Ragnarsson, now a director and playwright. He spent his childhood in the wings of theaters, watching actors rehearse the same scene over and over, and remains fascinated by the way the same words can be constantly made new.

“It’s so interesting when a man enters the room and says, ‘I don’t love you anymore,’ ” Mr. Kjartansson said, then giving voice to a second actor — “ ‘Why?’ ” — and then to a director: “Let’s do that one more time: ‘I don’t love you anymore.’ ‘Why?’ ”

Watching this process, he said: “You start imagining the story, but there’s no story. I was always disappointed when there was really a play.”

Which helps explain why he was drawn to performance art. “My works are all kind of anti-storytelling,” he said. “They’re always about a feeling, but there’s no story.”

Mr. Kjartansson made his first video performance piece, “Me and My Mother,” in 2000, while studying painting at the Iceland Academy of the Arts in Reykjavik. In it he and his mother stand side by side as she spits into his face, ferociously and with complete commitment, over several minutes. He accepts the abuse, occasionally starting to giggle. Mr. Kjartansson restaged the piece five years later, and then repeated it again in 2010 after deciding to continue the cycle every five years.

The series, in which he shifts from boy to man, undermines the idea of the doting mother while also showing Ms. Asmundsdottir’s love in acquiescing to her son’s unconventional vision. And it is a gift from a son to an aging mother who no longer gets offered parts regularly.

“You get this idea of the progression of them in their relationship and also of Ragnar as an artist,” said Anna Stothart, the curator who organized “Song” for the Institute of Contemporary Art and installed the three versions on flat screens there as part of “Song.” “There are these silly moments but also these really serious moments we have in our relationships with our families.”

Mr. Kjartansson’s first encounter with the Hudson Valley mansion of “The Visitors” came in 2007, when he was introduced to its owners by a friend. The setting of the 43-room, nearly 200-year-old house, Rokeby Farm, inspired a two-day piece, “Blossoming Trees Performance,” in which he assumed the role of plein-air painter in the mode of the Impressionists or Hudson River School artists. With a grand flair obvious in photographs documenting the work, he painted landscapes in a field overlooking the Hudson. The photographs were shown alongside his finished landscapes at the nearby CCS Bard Galleries that year.

Many artists, he said, “are really performing the artist.” Despite his painting degree, he added: “I consider myself a hobby painter. It’s such a bold, egomaniac act to be, like, ‘I’m doing this and it matters!’ ”

In defense of his arch approach, he said, “I look at irony as something real, as the most human way to express yourself — not making a mockery, but using playfulness.”

Mr. Kjartansson played the artist again in Venice in 2009, just after Iceland had fallen into financial ruin. In a 14th-century palazzo he locked himself into a continuous pas de deux between artist and model, making one painting of the same friend in a Speedo every day for the six months of the biennale, as cigarette butts and beer bottles piled up. In the face of his country’s crisis, the performance, called “The End,” spoke at once to his belief in the beauty of the artistic gesture and to the futility of it.

Mr. Kjartansson is dedicated to what he calls the “divine boredom” of such marathon performances. “I hope it will offer some kind of a religious moment in a humanistic way,” he said.

Key to achieving that moment has been his attention to beauty. A live, three-week performance in 2011, at the Carnegie Museum of Art in Pittsburgh when “Song” opened there, featured the artist’s three fair, young nieces continuously singing a fragment of Allen Ginsberg’s poem “Song” as misremembered by Mr. Kjartansson. A six-hour video of one day’s performance runs in a loop at the show in Boston.

“It’s sort of a siren call,” Ms. Stothart said of that work. “It’s shot really beautifully, and you get caught in the lyrics.”

In staging the last aria from “The Marriage of Figaro” for Performa he gave the audience much to take in visually — from the sumptuous costumes to a feast of suckling pig to sustain the performers in the 11th hour. While some singers showed strain over the 12 hours, Mr. Kjartansson never flagged as he sang of repentance and forgiveness at a delirious pitch.

“The word ‘endurance’ is a little bit too athletic for me,” he said. “It’s so much harder to be a waiter than to sing opera for 12 hours. Chris Burden and Marina Abramovic gave performance this Houdini status. I don’t feel that. It’s easier than real life.”

A version of this article appeared in print on January 6, 2013, on page AR19 of the New York edition with the headline: Never Tiring Of Repeating Himself.

no site do NYT

Ragnar Kjartansson > The Visitors @ Luhring Augustine / Feb 1 – Mar 23, 2013

16/03/2013

Luhring Augustine is pleased to present its second solo exhibition by Icelandic artist Ragnar Kjartansson. This show marks the New York debut of Kjartansson’s most recent project, The Visitors, a nine-channel video installation based on a musical performance staged in upstate New York at Rokeby Farm. For this new work, the artist assembled a group of his closest friends, some of the most renowned musicians from Reykjavik and beyond. A depiction of individual creative minds at work and a baring of extreme collective emotion, The Visitors continues Kjartansson’s use of durational performance to explore the persona of the performer.

Kjartansson first came to know Rokeby Farm while visiting the Hudson Valley area in 2007 and has become a frequent visitor. A site remarkable for its long and eclectic history and its state of romantic disrepair, Rokeby Farm serves as a painterly backdrop to the film’s eloquent homage to friendship. The home has stood for almost two hundred years and is run by family members who have become the artist´s friends and also perform in The Visitors. They have made it their goal to preserve the traces of the past and welcome bohemia and spirituality in all its forms.

The title of the piece is derived from the 1981 album The Visitors by Swedish pop band ABBA; the album was to be the group’s final record as divorce and internal strain ended their collaboration. With lyrics from a poem by artist Ásdís Sif Gunnarsdóttir, Ragnar´s ex-wife, and musical arrangement by the artist and Davíð Þór Jónsson, Kjartansson has staged a single-take production in which his fellow musicians perform the piece for a total of 64 minutes. Each of the nine projections in The Visitors features a participant inhabiting a separate setting in the home or on the grounds of Rokeby Farm, and when viewed together the individual scenes create a layered portrait which the artist aptly describes as a “feminine nihilistic gospel song.”

Ragnar Kjartansson was born in 1976 and lives and works in Reykjavik, Iceland. The Visitorsrecently debuted at the Migros Museum für Gegenwartskunst. Other recent solo exhibitions of his work have been held at the Fondazione Sandretto Re Rebaudengo in Turin, Frankfurter Kunstverein, and the BAWAG Contemporary in Vienna. Song, his first American solo museum show, was organized by the Carnegie Museum of Art in 2011, and has since traveled to the Museum of Contemporary Art in North Miami and is currently on view at the Institute of Contemporary Art in Boston. Kjartansson was the recipient of Performa’s 2011 Malcolm McLaren Award for his performance of Bliss, a twelve-hour live loop of the final aria of Mozart’s The Marriage of Figaro, and in 2009 he was the youngest artist to represent Iceland at the Venice Biennale’s International Art Exhibition.

http://www.luhringaugustine.com

VICENTE DE MELLO NO CCSP

15/03/2013

ISAY NA VILA

15/03/2013

TIMELINE #1

10/03/2013

TIMELINE

ARMORY WEEK

10/03/2013

tá lá no Artspace …

THE SKINNY: ARMORY WEEK ART EVENTS

Armory Week Art Events

Annabel Linquist, Cipst (2013) on view at the Spring/Break Art Show

By Alex Allenchey

ONGOING
The Armory Show at Piers 92 and 94 on 12th Avenue at 55th Street
Thursday, March 7th through Sunday, March 10th, Noon to 7 p.m.
ADAA Art Show at the Park Avenue Armory, 643 Park Avenue
Wednesday, March 6th through Saturday, March 9th, Noon to 8 p.m.; Sunday, March 10th, Noon to 6 p.m.
Independent Art Fair at 548 West 22nd Street
Thursday, March 7th, 4 – 9 p.m.; Friday, March 8th through Saturday, March 9th, 11 a.m. – 8 p.m.; Sunday, March 10th, 11 a.m. – 4 p.m.
Volta NY Art Fair at 82 Mercer Street
Thursday, March 7th, 2 – 8 p.m.; Friday, March 8th through Saturday, March 9th, 11 a.m. – 8 p.m.; Sunday, March 10th; 11 a.m. – 6 p.m.
SCOPE New York at the Skylight at Moynihan Station, 312 West 33rd Street
Thursday, March 7th through Saturday, March 9th, 11 a.m. – 7 p.m.; Sunday, March 10th, 11 a.m. – 6 p.m.
Fountain Art Fair at the 69th Regiment Armory, 68 Lexington Avenue
Friday, March 8th through Saturday, March 9th, Noon to 8 p.m.; Sunday, March 10th, Noon to 5 p.m.
Moving Image at the Waterfront New York Tunnel, 269 11th Avenue
Thursday, March 7th through Saturday, March 9th, 11 a.m. – 8 p.m.; Sunday, March 10th, 11 a.m. – 4 p.m.
PooL Art Fair New York at the Flatiron Hotel, 9 West 26th Street
Friday, March 8th through Sunday, March 10th, 3 – 10 p.m.
SPRING/BREAK Art Show at the Old School, 233 Mott Street
Thursday, March 7th through Sunday, March 10th; Noon to 9 p.m.
New City Art Fair at 529 West 20th Street, 2W
Thursday, March 7th through Friday, March 8th, Noon to 6 p.m.; Saturday, March 9th, 11 a.m. – 6 p.m.; Sunday, March 10th, 11 a.m. – 5 p.m.
The (Un)Fair at 500 West 52nd Street
Wednesday, March 6th through Sunday, March 10th, 11 a.m. – 8 p.m.
— TUESDAY, MARCH 5TH —
Opening reception for Christian Wassman’s “Five Platonic Objects” at R 20th Century, 82 Franklin Street, 6–8 p.m. (Through April 20th)
By the architect who designed the layout of this year’s Independent fair, a show of new “platonic” design objects—including a pillow, a table, and a chair—based on the five unique geometric forms: the circle, the cube, the tetrahedron, the octahedron, the dodecahedron, and the icosahedron.
VIP Opening Preview for the Spring/Break Art Show at Old School, 233 Mott Street, 6–10 p.m.
Taking up residency in an four-story NoLIta schoolhouse, this curator-driven art show will feature the projects of over 20 curators, all inspired by the theme of “New Mysticism.”
Gala Benefit Preview for the ADAA Art Show at the Park Avenue Armory, 643 Park Avenue, 5:30 – 9:30 p.m.
Expect the uptown crowd to throng this vernissage (hi, grandma!), but the heady mix of new and old art will draw plenty of the hip art scene from downtown too.
Opening Reception for Ed Ruscha’s “Books & Co.” at Gagosian Gallery, 980 Madison Avenue, 6 – 8 p.m.
Following last year’s exhibition of his paintings of books in Chelsea, Ed Ruscha is showing again at Gagosian—this time at their uptown location—bringing both his books and work by more than 100 artists they’re inspired.
“Draw With Us” Sketch Night at the Society of Illustrators, 128 East 63rd Street, 6:30–9:30 p.m.
Step into the Society of Illustrators for live jazz and live models in a drawing studio—sophisticated, eh—set amidst the works of art from the organization’s collection. $15 general admission, $7 students & seniors. Cash bar.
“Music in the Air” Tour for the Harlem Biennale at the Studio Museum in Harlem, 144 West 125th Street, 6:30–8:30 p.m.
This walking tour through Harlem offers an inside look at the rich, cultural history of musicians and performers who lived in the area around the turn of the 19th century. RSVP to contact@harlembiennale.org.
— WEDNESDAY, MARCH 6TH —
VIP Opening of the Armory Show on Piers 92 & 94 at 711 12th Avenue, Noon to 7 p.m. (Through March 10th)
Everyone who’s anyone in the art world will be at the gala opening of the city’s biggest art fair, and early reports from the fair say it’ll be a hit this year.
Opening Preview Benefit for the Armory Show at MoMA, 11 West 53rd Street, 11:30 a.m. – 9 p.m., After-party: 8:30 – 11:30 p.m.
They’re not cheap, but it is still possible to score tickets to the Armory Show VIP preview’s celebratory after-party at MoMA, which will feature a live performance by the lovely and powerful Solange Knowles.
Screening and Panel with Matthew Day Jackson at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 5–6:30 p.m.
If you ever wondered why seemingly every movie these day has a zombie in it, this is the panel for you. Jackson and crew discuss the making of “In Search of…Zombies,” the artist’s filmic examination of the ubiquitous cultural fad that refuses to die.

“27 Gnosis” Performance by Michael Portnoy at the Kitchen, 512 West 19th Street, 7 p.m. and 9 p.m., $15 (Through March 11th)
Staged in the form of a game show, these performances take a number of unexpected linguistic turns, as Portnoy builds a theatrical world around the combination of language and dance. Find the week-long schedule of performances here.
“Two Towel Margarita” Performance by Travis Boyer at ISA, 348 Wythe Avenue, Brooklyn, 9 p.m. – 2 a.m.
Hipster art party in Brooklyn!
—THURSDAY, MARCH 7TH—
“On Abstraction” Panel at the Volta NY Talks Lounge at 82 Mercer Street, 4:30 – 5:30 p.m.
Four of the young artists who are exhibition at this year’s Volta NY Fair—William Bradley, Kadar Brock, Christine Frerichs, and Regina Scully—will discuss each of their own evolving approaches to abstraction.
Bronx Art Space, “Soles of the Bronx” at Bronx Art Space, 305 East 140th Street, Bronx, 11 a.m. – 6:30 p.m.
Hosted in the city’s northernmost borough, this show would be a refreshing venue for visitors whose NYC intinerary typically just includes the Piers and Chelsea.
“Organic Abstracts” by Dianne Smith at the Bartow-Pell Mansion Museum, 895 Shore Road, Bronx, Noon to 5 p.m.
Two large, Minimalist sculptures by the Harlem-based artist will be situated on the grounds of the mansion. Viewers will also have the opportunity to discover the other sculptures on the grounds of the site, which can easily be accessed by trolley from Piers 92 and 94 of the Armory Show.
“The Psychology of Consumerism” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 1 p.m.
Moderated by Felix Salmon and featuring Warhol Museum director Eric Shiner, Liz Magic Laser, and Alvin Hall, this should prove enlightening to lovers of art-fair bling.
“To Present and Collect Performance, Ephemeral, and Interdisciplinary Art” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 3 p.m.
Tim Griffin, the director and chief curator at the Kitchen, will moderate this panel on the challenges of collecting art that lacks an inherent physicality. He will be joined by Heather Corcoran, the executive director of Rhizome; Nancy Spector, the deputy director and chief curator at the Guggenheim; and Glenn Wharton, the time-based media conservator at MoMA.
Special Viewing of Walter De Maria’s the New York Earth Room and the Broken Kilometer at Dia Art Foundation, 141 Wooster Street and 333 West Broadway, 6 – 8 p.m.
Remind yourself that some great contemporary art truly is priceless, like this room full of dirt and other room full of a kilometer’s worth of metal rods.
— FRIDAY, MARCH 8TH —
“The Armory Show 1913: Myths and Misconceptions” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 1 p.m.
To celebrate the legendary exhibition that gave the fair its name, a debunking session led by Yale art school dean Robert Storr (and featuring renowned Duchamp scholar Francis Naumann) that should bring a smile to even the most jaded art historian’s lips.
Screening of “The Show That Shook the World: Marcel Duchamp and the 1913 Armory Show” at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 3 – 5 p.m.
Another centennial celebration, this film, which features a previously unknown illustrated talk by Duchamp, will be making its national debut, followed by a discussion with its producer, that Duchamp scholar Francis Naumann.
“Posterity Will Have a Word to Say” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 5 p.m.
What will it be? Find out at the talk, which will feature former Venice Biennale curator Daniel Birnbaum, artist Paul Chan, and Vassar art historian Molly Nesbit.
Evening Tours of “How Much Do I Owe You?” at the Clock Tower Building, 29-27 41st Avenue, Queens, 6 – 8:30 p.m.
This celebrated exhibition—which transforms the interior architecture of a former bank, vault and all—returns to life, featuring work in a variety of different media by artists from 15 different countries, each of whom examines the conflicted relationship between art, money, and each other in this new post-recession economy.
“Long Night L.E.S.” at Various Locations, 6 – 9 p.m.
This Friday night over 30 galleries in the Lower East Side are staying open late to host a variety of programming, ranging from openings to talks and performances.
— SATURDAY, MARCH 9TH —
“Cut Paste and Sew” at Gallery 138, 138 West 17th Street, 5th Floor, 9:30 – 11 a.m.
Collectors, arts administrators, and artists who focus on the domestic arts, including Duron Jackson, who was recently a part of the “Raw/Cooked” series at the Brooklyn Museum, comprise this exhibition and discussion. RSVP tocontact@gallery138.com.
“The Biennial Factor” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 12:30 p.m.
Led by redoutable Sotheby’s Institute scholar Jonathan T.D. Neil, this talk will no doubt feature some of the lessons panelist Dan Cameron learned from his ill-fated turn running the Platform New Orleans biennial.
“Commissioning Work in an Art Fair Context” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 2 p.m.
Is that New York Observer culture editor and all-arond art-fair all-star Sarah Douglas moderating this panel, featuring Swiss Institute director Gianni Jetzer, curator Sarah McCrory, and artist Fatima Al Qadiri? Yes, yes it is.
Screening of “The Armory Show Focus Group” by Liz Magic Laser at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 5 – 6:30 p.m.
This film is composed of clips culled from over 12 hours of focus group discussions that Liz Magic Laser held with “art world consumers” late last year for her project as the 2013 Armory Show’s commissioned artist.
“JART3rd” at the Williamsburg Art & Historical Center, 135 Broadway, Brooklyn, 6 – 11 p.m.
In the 6th Annual Emerging Japanese Artists’ Exhibition, works in a variety of media by 24 New York and Japan-based artists—over half of whom are from Tokyo—will be on display.
The World’s First Tumblr Art Symposium at 319 Scholes Gallery, 319 Scholes, Brooklyn, 6 p.m. – 1 a.m.
Art news and analysis website (and one-time Artspace co-host) Hyperallergic has teamed with blogging platform Tumblr to present a part-exhibition, part-discussion on the future of Tumblr as a medium for art, which will simultaneously serve as a “forum for work to be discussed, shared, uploaded, and critiqued.” Drinks, pizza, art, and music also included. Add your name to the wait list here.
Silent Art Auction and Recovery Benefit at Rabbithole Projects, 33 Washington Street, 7 – 11 p.m.
In association with United Photo Industries and the Dumbo art district, Rabbithole is presenting a large group show and silent auction to raise funds for art spaces that suffered damage caused by Hurricane Sandy. The event will also feature live music and performances, as well as hors d’oeuvres and complimentary drinks. Tickets are $10 advance and $12 at the door.
— SUNDAY, MARCH 10TH —
“The Dealer’s Perspective” Tour by Cura/genda at Allegra La Viola Gallery, 179 East Broadway, 11 a.m. – 5 p.m., $20
Beginning with an introductory breakfast, this program will offer a first-hand look at some of the major players shaping the burgeoning Lower East Side gallery scene, as well as provide a background on how art is bought, dealt, and collected. RSVP to art@opalnest.com.
Lower East Side Gallery Stroll at the LES Visitor Center, 54 Orchard Street, Noon to 6 p.m.
Pick up a free map at the visitor’s center and check out a few of the over 50 galleries that will be hosting receptions in conjunction with Armory Week.
“The Question of Regionalism” Panel at the Armory Show’s Media Loungeon Pier 94, 711 12th Avenue, 1 p.m.
Think global, act local? Maybe that doesn’t apply anymore. Find out in this talk featuring SculptureCenter curator Ruba Katrib.
“The ‘Alternative’ in American Culture?” Panel at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 3 p.m.

Eric Shiner, the director of the Andy Warhol Museum—and occasional Artspace interviewee—moderates this discussion about whether the increasing democratization of images and absorption of “alternative” cultures into the mainstream changes how high art should be judged against more culturally popular art world and if the existing terms we use are still relevant.
Screening of “Fade to White” and “A Step on the Sun” by Janet Biggs at the Armory Show’s Media Lounge on Pier 94, 711 12th Avenue, 5 – 6:30 p.m.
Close out the weekend’s festivities with exactly what you’ll want: some time in a quiet, dark room.

JEAN-MICHEL BASQUIAT @ GAGOSIAN FEBRUARY 7 – APRIL 6, 2013

09/03/2013

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JEAN-MICHEL BASQUIAT
Untitled, 1981
Acrylic, oil stick and pencil on canvas
72 x 60 inches (182.9 x 152.4 cm)
© The Estate of Jean-Michel Basquiat/ADAGP, Paris, ARS, New York 2013

It’s about 80% anger.

—Jean-Michel Basquiat

Gagosian Gallery is pleased to announce a major exhibition of works by Jean-Michel Basquiat.

Featuring over fifty works from public and private collections, the exhibition spans Basquiat’s brief but meteoric career, which ended with his death at the age of twenty-seven. Thirty years after Larry Gagosian first presented his work in Los Angeles, twenty years after the first posthumous survey at the Whitney Museum of American Art (1992–93), and eight years after the Brooklyn Museum of Art retrospective (2005), viewers will have a fresh opportunity to consider Basquiat’s central role in his artistic generation as a lightning rod and a bridge between cultures.

Basquiat left his family home in Brooklyn at the age of fifteen and took to the streets. A voracious autodidact, he quickly became a denizen of the explosive and decadent New York underground scene—a noise musician who loved jazz, and a street poet who scrawled his sophisticated aphorisms in Magic Marker across the walls of downtown Manhattan, copyrighting them under the name SAMO. In 1981, he killed off this alter ego and began painting, first on salvaged materials then later on canvas, and making bricolage with materials scavenged from the urban environment. From the outset he worked compulsively. He sold his first painting in 1981, and by 1982, spurred by the Neo-Expressionist art boom, his work was in great demand. In 1985, he was featured on the cover of The New York Times Magazine in connection with an article on the newly exuberant international art market. It was unprecedented for an African-American artist, and for one so young. In that photograph, Basquiat is a vision of cool, sprawled in a chair in front of one of his bold paintings in an elegant three-piece suit and tie, with bunched dreadlocks and bare feet.

Charismatic image aside, Basquiat was a unique and prodigious artistic talent, fusing drawing and painting with history and poetry to produce an artistic language and content that was entirely his own, and which enunciated alternative histories, such asDiscography (1982), Brothers Sausage (1983), and Revised Undiscovered Genius of the Mississippi Delta (1983). Combining the tools of graffiti (Magic Marker, spray enamel) with those of fine art (oil and acrylic paint, collage, and oil stick), his best paintings maintain a powerful tension between opposing aesthetic forces—expression and knowledge, control and spontaneity, savagery and wit, urbanity and primitivism—while providing acerbic commentary on the harsher realities of race, culture, and society. In vividly colored canvases, forceful, schematic figures and menacing, masklike faces are inscribed against fields jostling with images, signs, symbols, and words used like brushstrokes. The frenetic, allover quality of many of the large works suggests a drive towards a sort of disjunctive mapping rather than the building of a classically unified composition, where seemingly unrelated marks suddenly coalesce in syncopated rhythms—like the best experimental jazz.

Basquiat’s iconography reflects the precocious breadth of his inspirations and preoccupations—from classical poetry to human anatomy, from sport to music, from politics to philosophy, from the arts of Africa to Picasso, de Kooning, and Rauschenberg. Obnoxious Liberals (1982) and Baby Boom (1982) suggest an angry bohemian’s pet peeves with contemporary mores. There are pictographic crowns, favored by graffiti artists to confer status, and warriors, whose significance is literal—as in the tributes to African American boxing champions Cassius Clay (1982), Jersey Joe (1983) Untitled (Sugar Ray Robinson) (1982)—or metaphorical—as in Warrior (1982) and (Untitled) Julius Caesar on Gold (1981). Cars, cops, street games, and skyscrapers reflect the hustle of the city in With Strings Two (1982), Untitled (L.A. Painting) (1982), andIrony of a Negro Policeman (1981), while Self-Portrait (1984) andThe Thinker (1986) are more evidently self-referential and introspective. The skull, a traditional motif of the vanitas, appeared very early in Basquiat’s oeuvre and remained a constant obsession amidst a thick and fast flow of subjects. Consider this when comparing the whimsical Bicycle Man (1984) and Riding with Death (1988), painted just four years later: the man on a bicycle in the earlier painting has been transformed into a naked figure astride a skeletal horse in the later one—a somber, elegiac image with which Basquiat the supernova, buckling under the alienating effects of fame and addiction, ended his career and his life.

Jean-Michel Basquiat was born in New York City in 1960, where he died in 1988. Major exhibitions include “Jean-Michel Basquiat: Paintings 1981–1984,” Fruitmarket Gallery, Edinburgh (1984; traveled to Institute of Contemporary Arts, London; and Museum Boijmans Van Beuningen, Rotterdam, through 1985); Kestnergesellschaft, Hannover (1987, 1989); Whitney Museum of American Art, New York (1993; traveled to Menil Collection, Houston; Des Moines Art Center, Iowa; and Montgomery Museum of Fine Art, Alabama, through 1994); “Basquiat,” Brooklyn Museum of Art, New York (2005; traveled to Museum of Contemporary Art, Los Angeles; and Museum of Fine Arts, Houston, through 2006); and Fondation Beyeler, Basel, Switzerland (2010; traveled to Musée d’art moderne de la ville de Paris). Basquiat starred in “Downtown 81,” a verité movie that was written by Glenn O’Brien, shot by Edo Bertoglio, and produced by Maripol in 1981, but not released until 2000.

For further information please contact the gallery atnewyork@gagosian.com or at +1.212.741.1111.

Luiza Baldan ÍNDICE no MAM

09/03/2013

Wilhelm Sasnal @ Anton Kern Gallery

February 22 – April 6, 2013

For this fifth solo exhibition at Anton Kern Gallery, Polish artist Wilhelm Sasnal has selected a group of paintings and works on paper around the theme of Kodak, the now defunct film and camera manufacturer. Some works make direct references to specific products, advertisements and to Kodak’s founder George Eastman, others create a “capture the moment” atmosphere addressing issues of picture-taking and picture-making.

It comes as no surprise that a painter and filmmaker like Wilhelm Sasnal would
make Kodak the subject of his work. Since their invention, film and cameras
have fascinated and challenged painters. Specifically, as Kodachrome film gained a reputation for its reproduction of “true colors”, the idea of reality, naturalism and truth in painting has been reformulated by artists in various ways. In addition, the Kodak pocket camera’s ability to capture a fleeting moment, along with the branding of the so called “Kodak moment” has liberated everyday photographers and created a universal culture of vernacular images that has the potential to turn ordinary events into private historical moments.

Sasnal’s position in regards to all of this is one of analytic observation and intuitive transformation. Known for his wide range of painterly methods, evident in these new paintings, Sasnal’s work deals with the underlying and subconscious presence of the history of an image, place or situation. As much as the artist is indebted to the physicality of film stock and cinematography, including its many visual effects, Sasnal creates every image as a singular event, both in his chosen motif and in the pictorial mode in which it is painted. Despite their subject’s universal nature, these works are delicate and precise, yet also singularly striking reflections on the nature of personal and collective memory. Sasnal’s paintings capture the fleeting moment twofold, once as a moment brought to a halt, quite like a photograph, and secondly as an unraveling of sub-conscious layers of meaning and history, quite beyond the capability of photography.

Sasnal’s work has most recently been featured in solo exhibitions at the Haus der Kunst, Munich (2012), Whitechapel Gallery, London (2011), K21, Düsseldorf (2009), and will be presented this fall in a major retrospective at the MSN Museum of Modern Art in Warsaw. His work has been included in group shows such as Image Counter Image, Haus der Kunst, Munich (2012), Painting Between The Lines, CAA, San Francisco (2011), The Reach of Realism, MOCA Museum of Contemporary Art, Miami (2009), the 55th Carnegie International, the Glasgow International (both 2008), Musée d’ Art Moderne de la Ville de Paris, MoMA, New York (both 2007), the Stedelijk Museum in Amsterdam, where he won the 2006 Vincent Van Gogh Biennial Award for Contemporary Art, the National Museum of Art in Osaka, the Museu Serralves in Porto (all 2006), and the Biennale de Sao Paulo (2004).

The exhibition will open on Friday, February 22 and run through Saturday, April 6, 2013. The gallery is open Tuesday through Saturday, 10 am – 6 pm. For further information and images, please contact the gallery at (t) 212.367.9663, (f) 212.367.8135 or email: nahna@antonkerngallery.com.

Miroslaw Balka @ Gladstone Gallery

2 x (350 x 300 x 300), 36 x 36 x 29 / The Order of Things, 2013 Steel, water pumps, plastic, rubber, water, food coloring and wood
Two parts: 137 7/8 x 118 1/8 x 118 1/8 inches (350 x 300 x 300 cm) each
One part: 11 1/2 x 14 1/4 x 14 1/4 inches (29 x 36 x 36 cm)

“The Order of Things”
530 West 21st Street
February 22 – March 30, 2013
Opening February 21, 6 – 8 pm

Gladstone Gallery is pleased to announce a new large-scale installation by Miroslaw Balka. Employing non-traditional art materials, Balka will create a monumental work that draws on historical tragedy to reflect on the limits of the world, continuity, and catastrophe. Balka will transform the 21st Street gallery space, constructing a private room in which to encounter his work and creating an intimate atmosphere for viewers to contemplate the massive, elegiac sculpture before them. Meditating on trauma, the discourse of nature, and the resulting wounds of historical events, the work encourages viewers to confront the past and to bear witness to the events that have come to define our present.

Over the course of the past thirty years, Balka has created a diverse body of work that engages notions of historical memory, the limits of representation, and the power and veracity of language. Encompassing installation, sculpture and video, Balka’s oeuvre has a bare and minimalist quality, exhibiting a particular sensitivity to materials that generate multilayered associations for the viewer as witness. Balka utilizes symbolic abstraction rather than discrete monument to address places and events sometimes related to the legacy of Nazi occupation in Poland and to investigate notions of trauma and collective memory.

For “The Order of Things,” Balka will contemplate both the possibility for and the limits of language and structural representation as a means for understanding history and its aftermath. Looking at the way conventions of truth and cultural discourse shift over time, Balka will contemplate the limitations of our usual modes of classification and depiction, moving beyond them to introduce the viewer to new modes of thought.

Miroslaw Balka was born in 1958 in Warsaw and was raised in Otwock, Poland, where he kept his studio until recently. Balka now lives and works in Warsaw. He has been the subject of many solo exhibitions at international venues, including Akademie der Künste, Berlin; Douglas Hyde Gallery, Dublin; Center for Contemporary Art, Warsaw; Museo Reina Sofía, Madrid; the Irish Museum of Modern Art, Dublin; K21, Dusseldorf, Germany; National Museum of Art, Osaka; Museet for Samtidskunst, Oslo; IVAM, Centre Del Carme, Valencia; Van Abbemuseum, Eindhoven; Museum Haus Lange, Krefeld; and The Renaissance Society at the University of Chicago. Balka has also been included in a number of important group exhibitions, including: “The Carnegie International 1995,” Carnegie Museum of Art, Pittsburgh, Pennsylvania; Documenta IX, Kassel, Germany; The 44th, 50th and 51th Venice Biennale, Venice, Italy; The 9th and 15th Sydney Biennale, Sydney, Australia; and the 2006 SITE Santa Fe, Santa Fe, New Mexico. Balka was awarded the 2009—2010 Unilever Tate Turbine Hall commission at Tate Modern, and in 2011 was included in the exhibition “Ostalgia” at the New Museum of Contemporary Art, New York.

For further information please contact contact Abby Margulies
+1 212 206 9300 or amargulies@gladstonegallery.com

ICCO NEWS #1

ICCo produz exposições no MAC USP

O Museu de Arte Contemporânea da USP dá continuidade à abertura de sua nova sede no parque Ibirapuera com a inauguração de duas exposições no sábado 9 de março das 11h às 14h: “Sala de Espera”, instalação de Carlito Carvalhosa, e “Obra”, com fotografias de Mauro Restiffe. Carlito usa postes de madeira que um dia serviram à rede elétrica para dialogar com as colunas da arquitetura de Oscar Niemeyer. Restiffe mostra uma seleção das mais de 1500 fotos feitas durante a reforma do edifício. As exposições ficam em cartaz até 8 de setembro.

A produção das duas exposições foi feita pelo ICCo, dentro do acordo de cooperação firmado com o MAC e a AAMAC (Associação dos Amigos do MAC).

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“OBRA”, fotografia de Mauro Restiffe

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“SALA DE ESPERA”, instalação de Carlito Carvalhosa

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ICCo e SP-Arte dão bolsas de Residência Artística

Em 4 de abril, na SP-Arte, serão anunciados os dois vencedores das bolsas ICCo/SP-Arte de Residência Artística 2013. Os artistas devem viajar no segundo semestre para um período de trabalho junto às instituições Residency Unlimited, em Nova York, e Esthia, em Roma. Esta ação dá início ao Programa de Residências Artísticas do ICCo, que será ampliado no segundo semestre.

ICCo no Instagram e no Facebook

Acompanhe as atividades do ICCo pelo Instagram (siga ICCoartbr no www.instagram.com) e pelo Facebook (www.facebook.com/icco.art.br).

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contato@icco.art.br
Rua Professor Fonseca Rodrigues, 1300
05461-010 São Paulo SP BRASIL
+ 55 11 3811 9264 + 55 11 2389 8543
www.icco.art.br

Dan Flavin and Donald Judd @ David Zwirner

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Coinciding with the gallery’s 20-year anniversary, David Zwirner is pleased to inaugurate a new five-storied exhibition and project space at 537 West 20th Street with a presentation of works by Dan Flavin and Donald Judd.

As two of the most significant American artists of the post-war period, Dan Flavin and Donald Judd’s practices have come to define what has been referred to as Minimalist art. The exhibition will present two significant installations by each artist demonstrating their visually complex understanding of space and material through the use of light and form, from Flavin’s straightforward yet dramatic use of fluorescent lamps to Judd’s highly polished aluminum constructions. The installations in this exhibition are in dialogue with each other and share a distinctive and coherent understanding of the object, the space, and the viewer.

From the early 1960s until his death in 1996, Flavin produced a singularly consistent and prodigious body of work that utilized commercially available fluorescent lamps to create installations of light and color that employed systematic compositions. This exhibition will include a series of nine works by the artist collectively referred to as “the European Couples” made between 1966-1971, all of which have the same near-square cornered configuration. Each work is composed of an 8-foot square that is one of the nine colors (excluding ultraviolet, which was not available in 8-foot lengths) of fluorescent lamps that Flavin used in his system of lights: yellow, pink, red, blue, green, warm white, cool white, daylight, and soft white. While they each stand alone as individual works, these constructions demonstrate Flavin’s interest in serial and permutational configurations. Presented together the series produces an immersive, site-situational environment of light and color, which gives a unique perspective to the architectural components of the new gallery space. The nine works are dedicated to European friends and colleagues who were influences in the artist’s life.

Judd began his practice as a painter in the late 1940s, although he soon introduced three-dimensional elements into the surface of his work. His first sculptural objects took the form of shallow reliefs, and by 1963 he had begun to create freestanding works that were presented directly on the floor and the wall. Throughout his practice, Judd used materials such as plywood, steel, concrete, Plexiglas, and aluminum and employed commercial fabricators in order to get the surfaces and angles he desired. He created declaratively simple, fundamental sculptural forms, many of which took the shape of simple “boxes” or “stacks,” which he would often arrange according to repeated or sequential progressions.

With the intention of creating work that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed the classical ideals of representational sculpture to create a rigorous visual vocabulary that sought clear and definite objects as its primary mode of articulation.

The exhibition will include an untitled five-unit sculpture from 1991 that demonstrates Judd’s visionary approach to using industrial material as well as his considered attitude toward form, proportion, and installation. This work is unique within Judd’s overall practice in that it is the only incident in which the artist combined circular columns within the square format of the aluminum box. Each identically scaled freestanding box is arranged in a single row spanning across the gallery floor. Large in scale, this work relates to Judd’s interest in what curator Barbara Haskell has called his “architecturally sensitive formulation of space.”1 The interior space of each box, which is open on each side, consists of vertical cylindrical forms in different spatial configurations, yielding a dialectical tension that reflects light in different ways. Each unit is positioned exactly 30 cm (1/5 of the width of each unit) from the other allowing the surrounding natural light in the space to bring out the subtle qualities of the material and form. Moreover, it invites an ambulatory viewer, as it cannot be comprehended in its entirety from a singular point-of-view.

This exhibition will provide a rare opportunity to experience two large-scale presentations by Flavin and Judd that demonstrate both artists’ unique ability to unify form and material while incorporating—through their deliberate installation and use of light and color—the surrounding architecture into the perception of the works themselves.

About the artists:

Dan Flavin’s (1933-1996) work has been widely exhibited since the early 1960s and is currently on view in Dan Flavin: Lights at The Museum Moderner Kunst Stiftung Ludwig (MUMOK), Vienna (through February 3, 2013) and Dan Flavin: Drawing at the Kunsthalle Bielefeld (through March 3, 2013). The Estate of Dan Flavin is exclusively represented by David Zwirner. The gallery presented Dan Flavin: the 1964 green gallery exhibition in 2008 (at Zwirner & Wirth) and Dan Flavin: Series and Progressions in 2009 (at its Chelsea location).

The work of Donald Judd (1928-1994) is included in numerous museum collections. Permanent installations of the artist’s work can be found at Judd Foundation spaces in New York City, at 101 Spring Street (the newly restored building will open to the public in June 2013), and Marfa, Texas, along with the neighboring Chinati Foundation. The Judd ranch house Casa Morales is available for viewing by special appointment. Judd Foundation (Rainer Judd and Flavin Judd, Co-Presidents) is exclusively represented by David Zwirner. In 2011, the gallery exhibited a selection of works by the artist drawn from his seminal 1989 exhibition held at the Kunsthalle Baden-Baden, Germany.

Haim Steinbach Lecture at NYU, Tuesday March 12

SAVE THE DATE:

Lecture with Haim Steinbach

Tuesday, March 12, 2013
6:30 PM in the Lecture Hall
The Institute of Fine Arts, New York University
followed by a reception

Haim Steinbach rose to prominence in the 1980s by creating sculpture in which the latent cultural value and socially critical characteristics of commodity objects were brought to the fore. He developed a strategy of arranging objects on laminated wood shelves. His investment in collecting, organizing and displaying objects of a particular time often reveal the darker, ironic, humorous and psychological aspect of the culture in which they were produced. His “shelf arrangements” have profoundly shifted the implications of and possibilities for the readymade object in art, and ignited a deeply contested post-modern artistic debate.

Steinbach received his BFA from Pratt and his MFA from Yale in 1973. Solo exhibitions have been held at the Center for Contemporary Art, Rotterdam (1992), Museum Moderner Kunst Stiftung Ludwig, Vienna (1997), and the Berkeley Art Museum, UC Berkeley (2005).

Taking advantage of the IFA’s location in one of the world’s leading art centers, the Graduate Student Association invites artists to discuss their work at the Institute. Begun in 1983, these talks are now funded by a generous gift in memory of late IFA Professor Kirk Varnedoe, who inspired the series.

The lectures are free and open to the public, but an RSVP is required. To make a reservation for this event, please click here. Please note that seating in the Lecture Hall is on a first-come first-served basis with RSVP.

Organized by Student Coordinators: Anne Wheeler and Jeffrey Uslip

Ateliê hoje

EMICIDA + Dj GREG GAZ @ MISS LILY”S

MARÇO, MAM Rio

POLARIDADES, MAM Rio

Prêmio Marcantonio Vilaça FUNARTE 2013, MAM Rio

MARTA JOURDAN NA LAURA ALVIM

02/03/2013

Saltz Revisits the 1913 Armory Show

02/03/2013