Thursday, May 28, 2009
Tuesday, May 26, 2009
Opening in the afternoon, from 2pm to 7pm
Saturday, May 30
"Les fleurs d'intérieur"
May 30 — July 19, 2009
+ In presence of Danh Vo and Julie Ault for the presentation of the artist book they collaborated on
Buenos Aires, April 3rd 2009
To whom it may concern,
Some years ago, I was looking at some old newspapers and found among them ‘The New York Times’ from January 28, 1973. On the front page was written in large letters ‘Vietnam peace pacts signed’. And beneath the headline was a photo of the ballroom of the former Hotel Majestic, Paris. In the photo there were people sitting in a circle, like in an arena, discussing the future of Vietnam. Above the arena, the chandeliers of the ballroom were hanging and lightning up the negotiation table.
As a Vietnamese born in 1975, the year of the Fall of Saigon, I have never had firsthand experiences of the war but have been raised in the aftermath of the geopolitical conflict. In 1979 my family decided to escape from Vietnam by boat; and we were among the lucky ones to survive the trip and to receive asylum in the West. In my practice as an artist I try to research into and work with these historical events in order to understand the circumstances that have shaped my life.
Some months ago, I heard about the selling and the planned reconstruction of the building of the former Hotel Majestic, and I became very interested in looking into possibilities of exhibiting these chandeliers during the renovation of the building or acquiring them if possible. My interest for exhibiting these chandeliers is to show them as mute witnesses of an event that was ending the American involvement in the war, the war which at first was initiated by the Americans, but wasn’t yet over by the time the peace pacts were signed in Paris. The chandeliers are mute witnesses of the beginning of a tragedy that affected millions of lives all over South East Asia,and affected my personal story.
I hope for your support and collaboration to make this exhibition idea come true.
Friday, May 22, 2009
Curated by Tobi Maier
May 3 – June 21, 2009
Ludlow 38 is proud to announce the following two events:
Thursday May 28, 6-8pm:
Reception for the artist and opening of the second leg of the exhibition
Chance Encounters with the launch of Pablo Pijnappel’s 16mm film
installation Walderedo (2006). Restaurante Jorge Americano (2008-2009) by
Tim Braden and Press Release (2009) by Karin Schneider will remain on view
through June 21.
Friday May 29, in collaboration with Union Gaucha Productions, 7pm:
A screening of A Vida De Infra Tunga (1999), a 16mm film portrait of
Brazilian artist Tunga by Karin Schneider and Nicolas Guagnini, followed by a
conversation between Nicolas Guagnini and Luis Pérez-Oramas on the
exhibition Tangled Alphabets: León Ferrari and Mira Schendel on view at The
Museum of Modern Art, New York through June 15, 2009.
WORLD-INFORMATION CITY CONFERENCE
In/Visibility, Access and Urban Zoning May 30 / 31 *******************************************************************
World-Information City Paris 2009 is an international two-day conference focusing on four major themes within the wide field of new urban geographies: mobility, global flows and local dynamics, the remaking of urban spaces through new strategies of conflict and security, and new approaches to map distributed action in space. High-level presentations, discussions and workshops offer insights on future urban transformations in a digitally networked world. With: Bruno Latour, Saskia Sassen, Stephen Graham, Carlo Ratti, John Urry, Eyal Weizman, Brian Holmes, Christophe Aguiton, Solomon Benjamin, a.o.
An open audience debate and a range of additional workshops provide the opportunity to discuss some of these issues more in depth. High-level presentations and discussions will offer thoughts on urban transformations in a digitally networked world as a valuable resource to be consulted for a long time in the future.
WORLD-INFORMATION CITY PARIS 2009 ******************************************************************
For the first time in world history a majority lives in cities but the cities' form itself is challenged. Virtual and physical space increasingly fragments into fully globalized zones along intensely localized spaces in a single geographic domain."New forms of mobilities of all kinds pose a major challenge to social and urban theories, which often remain implicitly static", states Felix Stalder from the World-Information Institute. "We want to create a space where new theories can be discussed.""Cities are a ground zero for social change," concludes director Konrad Becker. "Information systems in their social expressions find their manifestations in the physical space of the city, and new culture technologies change its future."
Maison des metallos, 94 rue Jean-Pierre Timbaud - 75011 Paris
14:00 - 16:30 UNDERSTANDING MOBILITY
17:00 - 19:30 GLOBAL FLOWS, LOCAL PLACES
14:00 - 16:30 SPACE, CONFLICT AND SECURITY
17:00 - 19:30 MAPPING COMPLEXITY
World-Information City is a project of World-Information Institute for Futur en Seine in cooperation with Cap Digital, medialab Sciences Po, Orange Labs, supported by Maison des Metallos, Awdio, Bandits-Mages, Ellipse, Labomedia, the City of Paris and the Ile-de-France Region.
Conference Editors: Konrad Becker und Felix Stalder, World-Information Institute
Saturday May 30 and Sunday May 31, 2009 14:00-19:30
Maison des metallos, 94 rue Jean-Pierre Timbaud - 75011 Paris
Admission is free!
Thursday, May 21, 2009
Wednesday, May 20, 2009
Tuesday, May 19, 2009
Exhibition, workshops, discussions, and award for the best works
July 28 – August 9 2009 / National Gallery of Indonesia
COMEDY is an effective way to free ourselves from anxiety. As a critique that disguise itself as a form of entertainment, comedy helps us to reflect, laugh at ourselves, protest without anger, and turn calamity into hilarity. As a way to communicate, comedy never dies and has been accompanying us since time immemorial, from the form of comedy that uses the body as a medium to one that uses the audio-visual language.
OK. Video: Comedy will look at comedy as a form of communication using the medium of video, which responds to a variety of problems in critical ways. From the problems of the city, politics, power, modernity, technology, economy, generation, gender, tradition, religion, mass media, identity, pop culture, art, daily lives, to the general election.
OK. Video Festival is focused on non-narrative video works and open for reconstructions, recording manipulations, and an array of experiments of the audio-visual language. We receive video works with a variety of approaches to comedy—from jokes, parodies, to absurd, satirical, sarcastic, vulgar, as well as tragic comedy.
Video format: mini DVD, mini DV - PAL and multimedia file with the duration of 3 to 15 minutes produced in 2007 – 2009 Deadline: May 31, 2009 Registration fee: none Entry form can be download at: www.okvideofestival.org & www.ruangrupa.org
Send your work to :ruangrupaJl. Tebet Timur Dalam Raya No. 6,Jakarta Selatan, 12820, Indonesia.T/F: +62 21 8304220.
Monday, May 18, 2009
Malva, Mire Hekan, Norrem Issan Hamdi, Bahar Maleki, Monireh Maleki, Hasan Huseyin Deveci (Malmime), Huseyin Isik, Ilter Rezan, Fehmi Balay, Rebwar Saeed, Azad Nanakeli, Baldin Ahmad, Walid Siti
PLANET Kurdistan is a laboratory of ideas and projects that has the aim to contribute to the discussion on the Kurdish cultural identity. It is a collective imagination process able to represent all of the complexities and diversities of this people and to encourage a shared future.
PLANET K is a virtual platform, through its web site www.planetk.org, and a physical place within the 53° International Art Exposition - Venice Biennale, staged in San Leonardo in Venice.With the contribution of the collective of architects, designers and graphics of Rebiennale, San Leonardo will be turned into a laboratory in which Kurdish artists - and thanks to an Open Call, all the people who would want to give their contribution - will meet, share opinions, and collectively build the necessary premises for the definition of a Kurdish cultural identity.
The Venice Art Biennale is one of the most prestigious international arenas for contemporary art, a place in which relations between art and national representation meet in a complex and articulated way. Every country chooses which artists can best interpret its artistic progress, its open-mindedness and its aspirations. In this context, representing the art of a stateless nation is the presupposition of a self-determination process. Art not seen as spectacle, but as an inspiration towards an identification process.
PLANET K aims to be above all a space for debate, comparison and production among the Kurdish artists, coming from all of the four countries in which the Kurdish people have been divided - Iran, Iraq, Syria and Turkey -, but also from the ‘fifth’ part, that is represented by the exiles. The Kurdish Diaspora is indeed a reality of well over one million and three hundred thousand people only in Western Europe.
In the two weeks before the opening of the Biennale, artists, philosophers, designers, sociologists, journalists etc. interested in the definition of this collective imagination process will debate about three fundamental issues, synthesis of the future potentials of the Kurdish people: Identity, Borders, Language.
The effort of the Kurdish intellectuals goes in the direction of an identity which reflects the experience of war, exile, forced migration, but which is also able to see beyond. An effort which starts from the denied identity (in particular in Turkey were the state represses systematically the Kurdish identity) and from the intimate identity lived by thousands of exiled Kurds, towards the claim of a lively identity. Identity as memory, dialogue, exchange.
Kurdistan is a region divided by borders rather than enclosed by them. A region separated in four different national realities whose borders are crossed every day by thousands of people escaping war, persecution and poverty. Borders are barriers, linguistic, cultural but also individual barriers met in the ‘host’ countries, which are often inhospitable. Borders, as those that metaphorically are confining women into a position of second-class citizens.
In the process of building Planet K we were actually communicating in seven languages: Sorani, Kurmanci, Turkish, Italian, English, French and German. Language is a form of resistance, especially in states like Turkey, where it is still a forbidden and persecuted language. Language is the vehicle of a new message for the future, it means being able to express its own ideas freely. It’s fundamental to manage to communicate your own past in order to being able to built a solid bases for your future, while making of diversities a richness rather than an unease legacy.
The 53° International Art Exposition with its title Fare Mondi/Making Worlds inspires this process of belonging. Not the belonging to an official culture, a state culture, but an inclusive belonging, in constant definition, open to influences and possibilities for future development. PLANET K is much more than a national art exhibit, it is a shared space where our imagination, our aspirations and our ideas can live. It is a new planet.
Kurdistan never existed as a national political entity, despite the fact that the Sevres Treaty (1920) was taking into consideration the possibility of an independent Kurdistan, in the case that the majority of the people living in that territory requested it. The Treaty of Lausanne (1923) cancelled this hope and established the division of Kurdistan (region rich of oil, water and other natural resources) among the states of Turkey, Iraq, Iran and Syria. Over the years the Kurdish claim to a nation-state have been replaced by a search, often experimental, of new forms of autonomy. Over the last weeks the talks over a possible first peace conference to be held in the autonomous region of Iraqi Kurdistan are becoming more recurring. The aim would be to have around a table all of the parties involved in the conflict, which has its most violent expression in Turkey.
Thursday, May 14, 2009
The MAK Center Presents: The Isle by Pages (Nasrin Tabatabai and Babak Afrassiabi)Exhibition Explores Paradoxes of Iranian Luxury Island
Opening Reception: Wednesday, May 27, 7 - 9 pm
MAK Center for Art and Architecture, L.A.Schindler House
835 North Kings RoadWest Hollywood, CA 90069 1510
Please join us for the opening reception of the new installation The Isle, by artists Nasrin Tabatabai and Babak Afrassiabi. The installation will focus on the contemporary circumstances of Kish, an island located in the Persian Gulf. At the MAK Center for Art and Architecture, the duo, partners who make up the collaborative team called Pages, will explore notions of "geopolitical indecisiveness" as it relates to this island. The Isle will be on view from May 28 through August 23, 2009.
The Isle takes its themes from the architectural and political incongruities that manifest at Kish, an island located eighteen kilometers from the southern coast of the Iranian mainland. The modernization of Kish was announced in December 1977 with the landing of a Concorde Supersonic at a new airport, built to accommodate an exclusive, hypermodern resort for the royal elite and their international guests. A year later, the Islamic revolution would suspend the any further development of this project. Soon thereafter, the new government declared Kish to be Iran's first free trade zone, applying the principles of a free market economy to attract foreign investment. By 1994, almost 55 percent of the island was given to tourism.
This free market progression was slowed in 2009, after a privately initiated plan was halted to develop a luxury business and tourist resort on the northeastern coast of the island, an ambitious project that involved more than 20 German architecture firms. The envisioned "internationalism" of the project would prove incompatible with prevailing socio-political conditions in Iran. Yet Kish, an hour and half flight south of the Tehran, has somehow remained a tolerant oasis for Iranian tourists who desire escape from the societal restrictions of the mainland.
Throughout its modern period, the island of Kish has not succeeded in becoming all that was desired for it. Subjected to the politics of mainland Iran, the island has found itself lingering between opposing ideologies, caught in geopolitical indecisiveness that prevents it from sustaining a sense of "place." Kish fails to situate itself historically and in relation to the geography that surrounds it. Economically and politically, it has in many respects become the "other" to neighboring developments in the Persian Gulf.
The Isle consists of text, video, found documents, and architectural models that together narrate the "symptomatic" features of Kish. The central element of the exhibition is a steamship, recreated by means of a scale model and video recording. This boat, stranded along the southern coast of Kish in 1966, has become the island's quintessential attraction for visiting tourists as it is silhouetted against the setting sun each night. In another work, Tabatabai and Afrassiabi incorporate the February 1978 issue of Vogue Paris, in which the first Kish development was promoted through a 16-page fashion spread staged before a backdrop of the island's newly built architecture. Sculpturally re-appropriated, the Vogue material links earlier modern architecture to the now suspended master plan for an international tourist and business resort in the free trade zone. The nature of this development project is explored in video interviews with representatives from the German architectural firms involved in a competition that would later lead to the proposed resort's design. Within the interviews, "misunderstandings"-often inherent to architectural design processes that discard the political conditions of their site-are clearly revealed. These misunderstandings nonetheless result in the release of fantasies of shapes and forms with extra-geographical and extra-cultural dimensions.
The Isle locates Kish in its architectural, geographical and political incongruities. It re-articulates unresolved instances of the island's modernization into representations of (unfulfilled) desires. By doing so, Tabatabai and Afrassiabi address symptoms of modernity as manifested in ambivalent forms of architecture not destined to come into being. The Isle is the third and final part of a project by Tabatabai and Afrassiabi about the island of Kish, begun in 2005 with the installation Sunset Cinema and continued in 2007 with Undecided Utopias.
About the Artists
Nasrin Tabatabai and Babak Afrassiabi live in Rotterdam and pursue an art practice both in Iran and the Netherlands. The duo began Pages in 2004. In addition to making art, Tabatabai and Afrassiabi publish a bilingual Farsi/English magazine called Pages. Through their projects, Tabatabai and Afrassiabi consider the intricacies and dissonances within and among given localities that can yield alternative chains of meanings, relations and coincidences. Ultimately, they wish to undermine predefined and geographically bound notions of subjectivity, triggering discussions of the social and political within a broader global context. (www.pagesproject.net)Nasrin Tabatabai and Babak Afrassiabi are Fellows sponsored through the MAK Center's Urban Future Initiative.
JOE SCANLAN RED FLAGS
May 15 – June 27
Opening reception: Friday, May 15, 6-9 pm
castillo/corrales, 65 rue Rébeval, 75019 Paris (M: Belleville)
It’s about time. It’s the right time, and in business, timing is everything. With a newly expanded gallery space and a new business plan designed with the artist and management mentor Joe Scanlan, castillo/corrales is positioned to take advantage of the current economic climate. And it feels nice.
An old friend and shadow consultant of castillo/corrales since its creation, Joe Scanlan is making the trip to Paris to present a new exhibition, and a book, both entitled Red Flags. The book contains four essays on economics that the artist has refracted from original texts by Thorstein Veblen, Joseph Schumpeter, Milton Friedman and Edward Said. The four essays of Red Flags-- which reinterpret and rephrase developments about absentee ownership, stagnating markets, colonialism and government subsidies-- come at the right time. But these economic arguments have been repositioned in light of Scanlan’s preoccupation with artists’ neighborhoods, Chelsea galleries, tae kwon do lessons, and Jack Kerouac and will be further extended in the form of a multi-part installation. Displayed on a series of supports—a shelf, a pedestal, and a salesman’s suitcase—the book insinuates itself not just as a commentary on, but in fact as an object of, the business of sales.
Slim, elegant, and beautifully designed by Francesca Grassi, Red Flags is the inaugural publication of Paraguay Press, a new development in the activities and the program of castillo/corrales in the form of a publishing department run in association with artist Guillaume Leblon.
Wednesday, May 13, 2009
Tuesday, May 12, 2009
Haymarket Books presents
FIRE THE BOSS:
The Worker Control Solution from Buenos Aires to Chicago
With the authors and editors of Sin Patrón: Stories from Argentina´s Worker-Run Factories: lavaca collective, foreword by Naomi Klein and Avi Lewis (Haymarket Books)
May 15, 2009
The Great Hall at Cooper Union
7 East 7th Street, New York City, New York
free (seating is first come, first served)
with (list information):
Naomi Klein, author of THE Shock Doctrine and No Logo, writer of The Take
Avi Lewis, director of The Take and HOST, Al Jazeera English "Fault Lines"
Claudia Acuña and Sergio Ciancaglini of lavaca collective in Argentina
Trabajadoras y Trabajadores de Republic Windows (Chicago, Illinois)
Leah Fried, United Electrical workers union
Brendan Martin, The Working World/La Base
Including a discussion, with clips of The Take by Naomi Klein and Avi Lewis and selections from a documentary about The Republic Workers´ struggle
Translation provided for Spanish speakers
Followed by a book signing
Co-sponsored by The Cooper Union, The Indypendent, UE (United Electrical, Radio and Machine Workers of America), The Nation Institute, The Nation Magazine, The North American Congress on Latin America (NACLA), Global Exchange, and Labor Notes
To find out more about the event, please visit
Merce Cunningham Dance Company (MCDC) presents the seventh and final performances in a series at Dia:Beacon entitled Beacon Events. In residency for the last two years, Merce Cunningham has previously choreographed six signature, site-specific Events within the vast galleries of Dia:Beacon. May’s Events will be held within one of the two parallel galleries devoted to Imi Knoebel's 24 Colors—for Blinky, 1977, a monumental work recently restored and on view for the first time in the US. The dancers will perform on three large rectangular stages evenly spaced along one of the galleries. As with previous Events, viewers will be invited to walk around the galleries to experience Cunningham’s performance from different vantage points. The performances will be accompanied by an original live score developed specifically for the Event, and will be the only times the musicians and dancers come together in this setting.
May 16 Beacon
Antoni Tàpies: The Resources of RhetoricDia and the Museo Nacional Centro de Arte Reina Sofia, Madrid, will inaugurate a series of institutional exchanges with a presentation of works by Antoni Tàpies at Dia:Beacon. Whereas Modernist painting was supposed to be anti-narrative, Tàpies sought the contrary: his narrative art exploits the resources of rhetoric. This exhibition invites a reconsideration of the contribution of this venerable Spanish artist by recontextualizing his work in relation to Dia’s collection of American and German art of the Sixties and Seventies.
May 18 Chelsea
Nancy Davenport on On Kawara
Nancy Davenport, who was born in 1965 in Vancouver, lives and works in New York. Her recent solo shows include exhibitions at DHC/Art Fondation pour l’art Contemporain, Montréal (2008); Nicole Klagsbrun Gallery, New York (2008); and MIT List Arts Center, Cambridge, Massachusetts (2004).
May 19 Chelsea
Latest in Dia's series of Artists' Projects for the web launches
Dia Art Foundation announces the launch of alphabeth, a web-based project by artist Dorit Margreiter, the latest in Dia's ongoing series of online artworks. The project can be seen beginning May 19 at www.diaart.org/margreiter.
An opening reception will be held at Dia on Tuesday, May 19, 2009, from 6pm to 8 pm on the fifth floor at 535 West 22nd Street, New York City.
In alphabeth, Margreiter presents two adjacent animations derived from her typeface "zentrum". The artist, who documents and redeploys the remnants of modernism before they disappear, designed the font in 2005 based on the modular components of a sign at Bruhlzentrum, a 1963 modernist housing project in Leipzip, Germany, which was slated for demolition. Reminiscent of Josef Albers' Kombinationsschrift (Combination Type), a stencil-based typeface he designed at the Bauhaus in Dessau, Germany, in the late 1920s, Margreiter's font is modular: components of each letter are presented in individual, consecutive frames. If her animations were sped up, they might become legible, but she slows them so they appear more like an abstract animation than a series of letters.
The left animation will consist of a loop of all the letters and symbols in her typographic system. The right animation will dynamically render the text from Dia's latest press release. Margreiter's channeling of public information through her modulated typeface defies the intelligibility demanded by the press release as a format by transforming it into something difficult-if not impossible-to understand. The piece relies on the tension between abstraction and information, a dichotomy that spans history from the font's Bauhaus roots to its encoding of press materials detailing future events.
With Can Altay, Mariana Castillo Deball, Ali Cherry, Anne Daems, Dina Danish, Gintaras Didziapetris, Florian Dombois, Chris Evans, Raphael Julliard, Allan Kaprow, Irene Kopelman and Hinrich Sachs.
Curated by Mai Abu ElDahab and Philippe Pirotte.
Twelve international artists have been invited to re-interpret the work of Allan Kaprow in Cairo.
Allan Kaprow (1927–2006) is one of the most unknown famous artists of today. He has always rejected the mechanisms of the world of exhibiting without making this a goal in itself. His model of an artist is the ‘un-artist’ who in a positive, actionist way returns with all his ambitions to life. His paintings, sculptures and collages grew into space consuming assemblages of everyday objects, which finally lead to entire environments.
By the end of the fifties, Kaprow coined the term ‘happening’ by introducing theatrical categories into traditional art works. Having studied the radical new musical compositions with John Cage at the School of Social Research, Kaprow’s methods of chance conquered the work process. People viewing his works were no more mere spectators, they became participants. Soon after, ‘happening’ became itself a style of the sixties. Kaprow reacted in his own way by transforming his works into ‘activities’ or ‘enactments’. It lies in the nature of Kaprow’s time- and performance-related work that in principle a repetition of a happening, or an ‘activity’ as he called his work later on, is not possible – and also not wished by the artist. Nevertheless, Kaprow himself re-enacted a larger number of pieces on several occasions. According to Kaprow, activities and happenings don’t grow old over the years; it is not nostalgic to repeat works but rather a challenge to adapt them to the moment, to the issues, the themes, maybe even the fashion of today. As long as the ‘central metaphor’, as he called it, was maintained, there was no problem. By this the works stay contemporary, comparable to the transmissions of content in oral history.
At the end of his life, Kaprow gave permission for the re-interpretation of his scores (lists of procedural actions constituting a ‘happening’) by other artists.
This exhibition aims to create a context and direct engagement with the work of this historical figure by involving local and international artists directly with his work.
May 4, 8pm: Audio lecture by Snowden Snowden followed by a screening of ‘Pee Wee’sBig Adventure’—
May 4 & 5, 2–6pm: The Emancipated Spectator: A two-day workshop looking at the intricate relationing between the role of spectator and performer led by Frederique Bergholtz. NB: Signing up is necessary.
—May 21, 8pm: Screening programme of Allan Kaprow works on the roof.
This exhibition is a collaboration between Contemporary Image Collective [Cairo], Kunsthalle Bern [Bern] and Objectif Exhibitions [Antwerp].
This exhibition is made possible with the support of Pro Helvetia Cairo (Swiss Arts Council).
Additional support by Mondriaan Stichting [Netherlands], British Council, Flemish Community [Belgium] and the Ford Foundation [Cairo].
With thanks to the Allan Kaprow Estate represented by Hauser & Wirth Zürich–London and special thanks to Barry Rosen and Sylvia Bandi.
Contemporary Image Collective
20 Safeya Zaghloul St, Mounira, Cairo
Tel +202 2794 1686/ Mob +2012 115 8700
Exhibition opening hours:Wednesday to Saturday, 4–8pm
Monday, May 11, 2009
Simdi ne bu aile portesi dersiniz tabii. Ama Aernout'un benim hayatimda ayri bir yeri vardir. Bienalde asistanligini yaptigim zaman daha tezimi bile yazmamistim, ne yapacagimi, nereye gidecegimi bilmiyordum. Bienal ekibindekiler Avrupa'nin soyle gozde sanatcisi, soyle meshur boyle iyi dediklerinde daha adini duymamistim bile. Butun bu surecte bana inanilmaz destek verdi, Marlene Dumas'yla tanistirdi, Malmo Sanat Akademisi'ne giderken insanlar ne alaka Malmo Isvec ne diye sorarken o destek verenlerdendi. Hayatimin onemli anlarinda bana cok guzel tavsiyeler verdi. Benim icin ilk yakindan tanidigim profesyonel sanatciydi, isinde sonsuz titiz, hayatinda sakin, ayaklari yere basan, lagalugaya prim vermeden bildigi yolda giden. Uzun lafin kisasi biz o kadar yil suresince hic kopmadik, Amsterdam'a her yolum dustugunde ya evine ya studyosuna konuk oldum.
Iki gun once Moma acilisinda ve sonrasindaki yemekte kendimi yine aileden hissettim. Gecen zaman icinde o established uzerine established yolunda ilerledi; ciddi hastalik yatagindan kalkip gecen Venedik Bienali'ne o cok begendigimiz Hollanda pavyonunu kurdu. Ben de kendime iyi bildigim yoldan ilerlemeye devam ediyorum; o da hikayelerimi mustehzi gulumseyisiyle dinlemeye devam ediyor.
Oyle gecti aklimdan Sabanci'daki tez bunalimlari, o arada ilk kez sergi kurmayi denemem, Malmo kararlari vs vs. Insan nereden, nasil geldigini unutmamali diye dusundum. Aernout gibi insanlarla karsilastigim icin sansli oldugumu da.
Is there anything for political progressives in the Christian message? Slavoj Žižek recognises the potential of Christianity to embody moral and political revolt. John Milbank believes theology is the only foundation upon which knowledge, politics and ethics can stand. They have co-authored The Monstrosity of Christ and tonight discuss Christian theology's emancipatory potential. Chair: Giles Fraser, vicar of Putney.
Friday, May 8, 2009
Neler goruyoruz neler. Dun Phillipe dedikodu olmasin diye aksamustu toplantisiyla duyurdu Dia'nin yeni kuratorunu. Dia'da Lynne'le calisan son trainee olmak serefi bana kismetmis. Ote yandan boyle degisimleri kurumun icinden gozlemek baska turlu bir beslenme bicimi. Dia'da Mosyo Vergne yeni takimini kurarken herkes heyecanli, merakla yeni adimi bekliyor.
The Dia Art Foundation has announced that it has hired Yasmil Raymond, associate curator of visual arts at the Walker Art Center in Minneapolis, as its curator, Carol Vogel reports for the New York Times. Raymond will replace Lynne Cooke, who has overseen Dia’s curatorial programs since 1991.
A year ago, Cooke became the deputy director and chief curator at the Reina Sofía in Madrid. When she accepted the job in Spain, she said she planned to divide her time between the institutions, but that has become increasingly difficult. Cooke is not leaving Dia altogether, however: She will be its curator at large. “I asked Lynne not to cut the umbilical cord,” said Philippe Vergne, Dia’s new director. “She has such an important history with the institution.”
Until the museum finds a New York home, Raymond, thirty-one, will oversee its temporary and permanent installations at Dia:Beacon, its Hudson River outpost, and organize exhibitions at sites like the Hispanic Society of America. “We need a full-time curator,” said Vergne. “Someone to think about the next five to ten years at Dia.” In hiring Raymond, Vergne is bringing in one of his own. When he joined Dia in September, he had been the Walker’s deputy director. “Yasmil has developed a strong voice,” he said. “She is young, someone who comes to Dia with a different point of view, a different culture.” Asked what progress Dia was making in finding a home in New York, he responded, “We’re getting closer every day.”
Thursday, May 7, 2009
May 6, 2009–July 27, 2009
Organized by Laurence Kardish, Senior Curator, Department of Film. The exhibition is made possible by The Contemporary Arts Council of The Museum of Modern Art and the Mondriaan Foundation, Amsterdam. Additional support is provided by The International Council of The Museum of Modern Art in honor of M. Joseph Lebworth and by The Consulate General of the Netherlands in New York.
Options for radical art practices in heterogeneous social space
A symposium by the Festival of Regions 09 -
Normality at the Subversive Fair in Linz
Congress language: English
May 16, 2009, 11 a.m. — 8 p.m.Hafenhalle 9, Hafenbecken 3, Linz, Austria
with Alejandra Aravena, Marina Gržinić, Ruth Noack, Gerald Raunig, Dmitry Vilensky and Stephen Wright
Moderation of the final panel: Stefan Nowotny
Concept and organization: Martin Krenn
Radical social practices and interventions in art question social norms. The spectrum ranges from co-operative, socially committed and participatory projects through to politically symbolic, provocative actions. An extended concept of art, subversive techniques and testing the so-called 'freedom of art' are deployed in this context, usually strategically.
The situation becomes political especially when the concern is in establishing a relationship between artists and project participants which requires an inversion of power relations that is aimed at redistributing resources and the implementation of equal rights for all. The spectrum of participation stretches from occasional encounters with residents and passers-by through to collaboration with theorists, activists and political groups. If the relationship between artists and participants is radically thought through and implemented, then both strategic alliances and political relationships are possible. This leads to a critical concern with the relationship itself and simultaneously establishes a specific way of acting.
Due to the current financial and economic crises, radical practices in art find themselves in a special situation because they are accompanied by a crisis in normality. Fractures and gaps occur in existing power relations and patterns of thought. These openings offer new targets for radical artistic interventions. Thus the configuration of power relations around which society is structured could itself be at stake in the sense of being the subject of an "agonistic struggle" (Chantal Mouffe). This is especially true where society is conceived of as a heterogeneous social space in which opposition should not be suppressed but can become productive.
The symposium Normality in [the] Crisis will engage with options and traps of political practices in art, locate them within art history and discuss the potential of the numerous feminist, anti-racist and anti-capitalist projects of recent years within the context of current social upheavals.
Festival of Regions 09
Normality in [the] crisis
Tuesday, May 5, 2009
- CRITICAL STUDIES PROGRAM SYMPOSIUM, Whitney Museum of American Art, Wednesday, May 20, 2009
- CURATORIAL PROGRAM EXHIBITION, The Kitchen, May 22–June 13, 2009
STUDIO PROGRAM EXHIBITION
May 9–17, 2009
Kasper Akhøj, Natalia Almada, David Baumflek, Nanna Debois Buhl, Heather Hart, Emma Hedditch, Bani Khoshnoudi, Liz Magic Laser, Liz Linden, Ilya Lipkin, Mores McWreath, Meredith Nickie, Anna Ostoya, Hong-An Truong
Saturday, May 9 6–8 pm
An Evening of Screenings and Performances:
Friday, May 15 6–9pm
The exhibition and all events take place at Art in General, 79 Walker Street, 6th floor, New York, NY 10013
Gallery hours: Monday–Sunday 12–6 pm
Admission is free
CRITICAL STUDIES PROGRAM SYMPOSIUM
Wednesday, May 20, 2009
Session I 7–9 pm
Jennifer Kennedy: Appearing Bored: Spectatorship and Subjectivity in the Films of Guy Debord
Tom Williams: Claes Oldenburg between The Street and The Store
Jordan Troeller: Against Abstraction: Zoe Leonard's Analogue
Discussant: Thomas Crow, Rosalie Solow Professor of Modern Art, Institute of Fine Arts, New York University
Session II 9:30–11 pm
Chad Elias: How to Do Things with Words in Public Space: On Sharon Hayes’s “Respeakings”
Julia Moritz: Institutional Critique in Spaces of Conflict
Karl Lydén: The Art of Documentary Narratives
Discussant: Michael Eng, Assistant Professor of Philosophy, John Carroll University
The symposium takes place at Whitney Museum of American Art, Lower Gallery, 945 Madison Avenue, New York, NY 10021
Admission is free; seating is available on a first-come, first-served basis.
CURATORIAL PROGRAM EXHIBITION
May 22–June 13, 2009
Time Out of Joint:
Recall and Evocation in Recent Art
With works by: Johanna Billing, Kajsa Dahlberg, Maryam Jafri, Yael Bartana, Katerina Seda,
Tellervo & Oliver Kochta-Kalleinen, Keren Cytter, Ronnie Bass, Jennifer Phang, Kader Attia, Kevin Willmott and Fikret Atay
Friday, May 22, 5–8 pm
A Day of Film Screenings
June 1, 2009
Please contact The Kitchen for information
Saturdays 2 pm
The exhibition and all events take place at The Kitchen, 512 West 19th Street, New York, NY 10011
Gallery hours: Tuesday to Friday, 12–6 pm, Saturday, 11–6 pm
Monday, May 4, 2009
Sunday, May 3, 2009
YTJ new museum hatıratı.
miss dineoooooo bobape'yi tanıyınız.
bi tane guzide arkadaslarımdan.
işleri gönlümü açıyor; öyle keyifli ve konuşkan, öyle de lafı gediğine koyan.