Published April 25, 2009 by aanews
opening at the Netwerk / centrum voor hedendaagse kunst Houtkaai z/n, B-9300 Aalst × info@netwerk-art.be
April 26th.2009
Published April 16, 2009 by aanews
From the press release
he third, and final exhibition in Picture This’ Recorded Live season of new moving image works exploring performance to camera. www.picture-this.org.uk/RecordedLive
As it Presents Itself - Somewhere Vague is a new video installation by Ryan Gander that exploits the medium of Plasticine animation. The work brings together characters based on the comedian Spike Milligan; curator Matthew Higgs; Mrs Frances Gander - the mother of the artist; the Lumière Brothers, Auguste and Louis, who were amongst the earliest of film-makers, and a generic animator’s armature that stands as the skeleton of the other characters.
As viewers, we are put into the position of a spectator within a gallery, within a film and in turn within the auditorium of a theatre. There is a tongue in cheek contradiction within the action and the narration between the staged, the unstaged, and the upstaged, the directed and the happenstance. As an investigation into the notion of entertainment, the work is an attempt to look at the relationship between performer and spectator relationship and to rigorously discuss the stereotypes of performing art.
Richard Briers provides a voiceover that acts as the work’s narration from the perspective of the characters involved, but in hindsight - questioning the intentions of the work. This rambling, questioning voiceover mirrors our own uncertainty as spectators. The characters seem to be in search of an author and meaning, lost in a theatrical loop. The work is subtle and understated, as funny as it is unsettling.
As it Presents Itself - Somewhere Vague was produced by Ryan Gander, Wonky Animations of Bristol and Picture This. It is a joint commission by Whitstable Biennale, Picture This and South West Screen as part of Recorded Live. It was first shown at Whitstable Biennale in 2008.
Recorded Live is a programme of new performance to camera moving image works all exploring how performance can be mediated on film; not least by questioning what constitutes a performance, and how a film can be presented to audiences. In this season of new moving-image works ideas of performance encompass the personal and physical, the everyday and miniscule and the fantastical and fabricated.
Check a book and a multiple by Ryan Gander at onestar press here.
Published by aanews
exhibition: 18.04 - 23.05.09
PRESS RELEASE
or about 10 years Dan Perjovschi has been jumping from one wall to another (some time falling on the floor or floating from the ceiling) story-telling the world around us. As he says, if he draws it, he understands it. The style is anarchic with no apparent structure. A sort of visual jazz. From international world-affecting decision to the taste of the morning coffee, the distance is measured in centimeters. Drawing after drawing, Perjovschi is knitting the big narrative of the contemporary world. With humor, irony and empathy, needing no one and obeying no rules. Free style.
Free Style is Dan Perjovschi’s second solo show at galerie Michel Rein, for which he will draw ont the walls of the gallery. He will deal with diverse subjects, such as the economic crisis, the President of the Republic, the art market, Obamania or capitalism shaking, etc.
Dan Perjovschi is a visual artist who mixes drawing, cartoon and graffiti. He develops his practice onto the walls of museums and galleries all over the world. His drawings comment on current political, social or cultural issues. He has played an active role in the development of civil society in Romania , through his editorial activity with Revista 22 cultural magazine in Bucharest. Dan Perjovschi has been featured in many exhibitions in prestigious museums (the Pompidou & MOMA in 2007, Tate Modern in 2006, Musée d’Art Moderne de la Ville de Paris in 2005) and internationals events (Moscow Biennal & Venice Biennal in 2007, Manifesta in 1998). Dan Perjovschi represented Romania at the 1999 Venice Biennale.
Dan Perjovschi is currently participating to the exhibition «Frontières invisibles» at the Tri Postal until July 12th at the occasion of Lille 3000.
Artist in residency at the Recollets, a residency programme of the City of Paris and the French Ministry of Foreign and European Affairs.
Published April 11, 2009 by aanews
April 10 - June 7, 2009
http://www.presentationhousegall.com
From the press release
Alan Belcher, Walead Beshty,Gil Blank, Jennifer Bolande, Trisha Donnelly,Roe Ethridge, Guyton Walker, Rachel Harrison, Robert Heinecken, Matt Keegan, Annette Kelm, Louise Lawler, Carter Mull, Torbjorn Rødland, Alex Rose, Sam Samore, Wolfgang Tillmans, Josh Tonsfeldt, Sara VanDerBeek, B. Wurtz
Beyond a carrier of an uninterrupted image, what else can a photograph be? This is the question at the center of this exhibition. With works in which an object that has been photographed becomes the support for the image — as in Alan Belcher’s playground tire swing that is wrapped around a tire swing hung from the ceiling, or Jennifer Bolande’s photo of plywood that has been mounted onto plywood as a rippled curtain — we have hybridized photo/objects. Rachel Harrison’s sculpture is frequently put to the service of displaying a photograph, or an image becomes yet another element in her three-dimensional “combines.” The installation of a photograph that takes into account both the image and its relation to space, as with Louise Lawler’s photographs of Andy Warhol’s “silver clouds,” hung high up and at tilted angles as if floating in the room, is also means to animate the photograph. Another question is inevitably raised: Beyond the camera, how else can a photograph be made? Here, we have camera-less works such as Wolfgang Tillmans’s “Lighter” series, pictures which are the result of accident, having been bent and crumpled as they came out of the printer. The resulting works, sculptural and revealing the photo’s reality as a sheet of paper, are presented in Plexiglas boxes. There are also pictures generated completely in the darkroom, such as those Walead Beshty makes by bending a sheet of photographic paper and exposing sections to various colored lights. The show includes photographs in which images have been overlaid or made to collide, as in the pioneering art of Robert Heinecken, who is represented by works from the early 1970s, and more recently with Roe Ethridge, whose pictures of pages from mail order catalogs taken on a light table can be seen as Surrealist double-image. The show accounts as well for works which seem to occupy the “normal” space of photography, a picture within a frame hung flat to the wall, and yet problematize accepted notions by way of the image itself, as when Gil Blank distances us from a polaroid that appears tacked to a wall that is a purely fictive location. Finally, there are pictures as negations of an image that deliver another one entirely, best illustrated by Sam Samore’s work in which photos have been put through a shredder and bagged for disposal, or Alex Rose’s haunting pictures of collages that he sets on fire, and as they burn we see them go up in smoke.
Published by aanews
Pierre Huyghe. Still from This is not a time for dreaming, 2004. Live puppet play and super 16mm film, transferred to DigiBeta, color, surround sound, libretto and poster, 23:33 minutes. Collection of Kathy and Keith L. Sachs. Courtesy of Marian Goodman Gallery, New York/Paris.
From the press release
The Puppet Show is a group exhibition that explores the imagery of puppets in contemporary art. International in scope, the exhibition brings together twenty-nine artists from multiple generations in works that range from a 1974 installation by Dennis Oppenheim to a new animated video by Berlin-based artist Nathalie Djurberg. Consisting of sculpture, video, and photography, the artwork included in The Puppet Show investigates key themes associated with puppetry, including manipulation, miniaturization, and control. The exhibition demonstrates that in contemporary art, as in Western culture at large, the puppet acts as a psychological surrogate, social and political commentator, and entertaining performer.
The Puppet Show takes as its historic point of departure an important work of European avant-garde art history: Alfred Jarry’s 1896 play Ubu Roi, which was originally conceived as a puppet show. The despotic king, who strode on stage roaring the French scatological word “merdre,” is the perfect source for all puppet allegories of grotesque government and acts of puppet transgression. Ubu’s reign continues in The Puppet Show with the work of the South African artist William Kentridge in collaboration with the Handspring Puppet Company.
More recently, puppets have taken hold of popular consciousness by way of films, theatre, computer games, and animation. Seen in correspondence with these pop culture images, the works in The Puppet Show advance the question: Why do puppets matter now? Perhaps it is the puppet’s power as an allegorical object that makes it so relevant and liberating. In a time when communication seems increasingly mediated and individual agency diminished, puppets abstract the dramas, mysteries, anxieties, and personas we might all project onto a shared stage.
Participating artists in the exhibition are Guy Ben-Ner, Nayland Blake, Louise Bourgeois, Maurizio Cattelan, Anne Chu, Nathalie Djurberg, Terence Gower, Dan Graham and Japanther, the Handspring Puppet Company, Pierre Huyghe, Christian Jankowski, Mike Kelley, William Kentridge, Cindy Loehr, Paul McCarthy, Annette Messager, Matt Mullican, Bruce Nauman, Dennis Oppenheim, Philippe Parreno and Rirkrit Tiravanija, Laurie Simmons, Doug Skinner and Michael Smith, Kiki Smith, Survival Research Laboratories, Kara Walker, and Charlie White. Also included in The Puppet Show is a collection of pictures, props, and source material from artists’ studios as well as historic puppets. A fully illustrated catalogue accompanies the exhibition.
Pierre Huyghe at onestar press here
onestar press and Three Star Books at the PA/PER VIEW - ART BOOK FAIR in Brussels 23 - 26 April 2009
Published April 8, 2009 by aanews
WIELS, Centre d’Art Contemporain
Av. Van Volxemlaan 354
1190 Bruxelles - Brussel
tel +32 (0)2 340 00 50
12-18h
Entrée libre
A l’occasion du week-end d’art contemporain le plus intense en Belgique, PA/PER VIEW rassemble au Wiels 25 des éditeurs les plus influents d’Europe. Laissez vos laptops à la maison et venez feuilleter les plus fins ouvrages de ces magiciens du texte et de l’image imprimée.
Avec:
A Prior (BE)
Afterall (UK)
Argobooks (DE)
Bartleby & Co (BE)
BAS/Bent Books (TR)
Book Works (UK)
Daviet-Thery (FR)
De Singel (BE)
Episode Publishers (NL)
Gagarin (BE)
Gevaert Editions (BE)
Janus (BE)
Mer-Paper Kunsthalle (BE)
MFC-Michèle Didier (BE)
Mousse Magazine (IT)
Muhka (BE)
Onestar Press (FR)
Onomatopée (NL)
Ridinghouse (UK)
Roma Publications (NL)
Salon Verlag (DE)
Spector Books (DE)
Three Stars Books (FR)
Torpedo Press (NO)
Valiz (NL)
Verlag der Buchhandlung Walther König (DE)
Published by aanews
http://www.deutscher-pavillon.org/
Liam Gillick at onestar press:
Book: Anna Sanders Identity Spot
Multiple: Untitled (2004)
Published April 6, 2009 by aanews
Dans le cadre de sa programmation Satellite, le Jeu de Paume souhaite valoriser le travail d’artistes qui développent des projets spécifiques à Internet.
Pour l’espace virtuel en ligne, Angelo Plessas a conçu, avec la collaboration d’Andreas Angelidakis, un projet multiple et tentaculaire dont la fonction est d’accueillir un ensemble d’évènements et d’installations qui vont de la lecture de “robot-poésie” à la création d’un observatoire des réseaux sociaux. Un projet perpétuellement en chantier…
http://www.theangelofoundation.com/
Angelo Plessas and Andreas Agelidakis at onestar press
Published by aanews
From the Curator’s statement
ossella Biscotti is once again on the traces of a recent past that, for various reasons, has been partly erased and concealed by official history. The discovery of five bronze heads of Mussolini and King Victor Emmanuel III, locked away in the basement of the Palazzo degli Uffici at EUR, have become the starting point for a new art project. The temporary move of the sculptures to the premises of Nomas Foundation is not however to be seen as an exhibition in the classic sense, but rather as inspiration to rethink their significance in relation to the present world. The various stages follow on in accordance with a rituality that recalls those of a pagan procession: preparation for the event, the journey made by the sculptures, their stopover for a few days and then their return to the basement. Or possibly it is more of a pretext to introduce the second part of the project, and the prelude to a new encounter with the public, who are greeted by the artist on a platform. This is a modernist architectural element, which is also devoid of any exhibitive character, for it is designed as a space for a real and concrete dialogue about the idea of monumentality and of the architectural spaces this involves.
Some of the artist’s previous works also revolve around the unfolding of a journey through time and collective involvement. In the New Crossroads video (2006) a tower of wooden planks remains upright for a single hour, before being gradually dismantled by its own inhabitants. However, while mechanisms of an economic and social nature are triggered off in New Crossroads, here the interaction tends more to examine an idea of a historical identity of ideological origin.
In Cities of Continuous Lines (2006) Rossella Biscotti, together with Kevin van Braak, had already tackled various aspects of Fascist architecture, investigating not so much its political and propaganda elements as its transformation in relation to the use that has been made of it over time.
While the passing decades have led to a gradual loss of identification with a monument which, now deprived of its original functions, has become historical evidence of something unalterable and part of the past, it is also true that buildings continue to evolve as real and living spaces subject to change. They are inhabited places with which residents interact and tend to identify.
The new project is also the product of the artist’s reflections on comparisons between two elements: on the one hand the classical monumentality of the heads and, on the other, the futurism of Fascist regime architecture. This viewed the EUR district as a great monument to the future and to the idea of modernism, but at the same time it was a propaganda tool for the Fascist dictatorship.
Maria Rosa Sossai
