The Rose Street Blog

NMIT Jewellery Auction 2010

2010-04-27T21:13:00.000-07:00

Yes, folks the annual NMIT Fundraising Jewellery Auction is on again!
Tuesday 4th May 2010 at The Rose St. Artists' Market, 60 Rose Street Fitzroy Victoria.
Live auction will start at 7pm and silent auction begins at 5pm, come down and have a drink and buy some contemporary jewellery. All proceeds go towards funding the end of year graduate exhibition.

The World's Greatest Swap Meet - Part 2

2010-03-29T17:40:00.000-07:00

The World's Greatest Swap Meet - Part 2
Easter Sunday 4th April 2010 / 11am till 5pm
The Rose St. Artists' Market
60 Rose Street Fitzroy

Tim Vagg John West is Dead

2010-03-16T17:25:00.000-07:00

Opening 6-9pm Thursday March 18
Exhibition runs March 18 – April 3 2010

John West is Dead is a new exhibition of paintings by Tim Vagg to mark the opening of Kick Gallery in Collingwood. As with Vagg’s 2009 exhibition, Heroes, Drunks and Bounders – Forgotten Tales of Melbourne, Vagg delves deeply into the history of Melbourne as he re-exams and re-animates famous and infamous figures of this city’s past through portraiture. In John West is Dead Vagg focuses on the controversial Collingwood tycoon John Wren and one of Australia's most famous literary libel cases that arose from the publication of Frank Hardy's ‘Power without Glory’.

Through a combination of broad research and artistic invention, Tim Vagg offers us a chance to ponder the mythologies of our own history, our fascination with criminal notoriety and the notions of class politics at the turn of the 20th century that was documented in Hardy’s thinly-veiled fictional novel about Wren. The exhibition is not intended as a biographical portrait, but more a study of history through the prism of historical, political and cultural myth.

John West is Dead is Tim Vagg’s seventh solo show with Kick Gallery since first exhibiting at Kick Gallery Northcote’s inaugural exhibition Inner Sense in 2002. These solo exhibitions include; Face-Up (2003); Dogmatika (2004), Northcote Stories (2005); The Theatre of You & Me (2007); Batmania: Tales from a cold Melbourne Studio (2008); and Heroes, Drunk and Bounders – Forgotten Tales of Melbourne (2009).

John West is Dead runs until April 3 2010.

John West is Dead is exhibition is the inaugural exhibition for Kick Gallery at our new premises located at 4 Peel Street Collingwood.

Funny Graf...

2010-02-10T19:04:00.000-08:00

The area around Rose Street is littered with graffiti - some artistic, some vandalism and some political. So when I stumbled upon this blog, I thought it would be good to share some of the funnier graffiti going around. Enjoy...

http://www.lifelounge.com/forums/default.aspx?g=posts&m=259

Applications are open!

2010-01-06T16:34:00.000-08:00

The new year is a great time to become a stallholder at The Rose St. Artists' Market. It's all about great weather, being surrounded by talented artists and designers and getting involved in something big!

To apply, simply visit our website http://www.rosestmarket.com.au

See you soon...

The Melbourne Bicycle Film Festival

2009-10-13T19:32:00.000-07:00

Who would've thought that a film festival revolving around all things two wheels would have enough material to keep on rolling year after year? Well it seems as though there's at least 3 years worth of cinema action as the Bicycle Film Festival rolls into town yet again.

From the 12-29 of November, BFF will offer up a banquet of biking treats and with Melbourne being a bike loving city, it's sure to be a hit!

Check out www.bicyclefilmfestival.com for details...

Win big at Rose Street this October

2009-10-07T19:05:00.000-07:00

Yes, it's that easy. All you have to do is spend $50 or more at any stall and you can go into the draw to win a $500 Rose Street shopping spree!

Good luck...

An eco-adventure in the city

2009-07-22T23:55:00.000-07:00

The Rose St. Artists' Market is proud to venture into the city centre this July by taking part in the Melbourne Central Environmentally Sustainable Design campaign.

14 of our more eco-conscious stallholders will be on display in the Lonsdale Street link-bridge on Friday 31st of July so come and say hi!

We'll be there from 1pm onwards...

Double the Happiness

2009-07-22T23:48:00.000-07:00

There's only one weekend to go before The Rose St. Artists’ Market starts serving up double the creativity, double the design and double the happiness each weekend.

Come August 2, we’re adding another day of trade so you’ll be able to visit us on Saturday AND Sunday. And with heaps of new talented artists and designers displaying their work (plus some old favourites), you’ll need the extra time to see what’s new.

Since its inception in 2003, The Rose St. Artists’ Market has displayed the work of over 600 individuals wowing customers with the high quality of work on offer. And with our new Sunday market, we’re excited to be able to nurture even more of Melbourne’s finest emerging art and design practitioners!

Expect to find everything from quirky furniture design and stunning fashion through to intricate jewellery and unique paintings.

**Applications are also filling up fast, so if you want to get involved, apply online today!**

THE SPACE BETWEEN

2009-06-22T00:26:00.001-07:00

Group show with artists Annie Cattrell, Amanda Couch, Richard Ducker, Jan Dunning, Joy Gerrard, Kate MccGwire, Marilène Oliver, Kate Street, Esther Teichmann

The Space Between brings together a group of nine established and newly established artists (whose work ranges from video to performance and sculpture), many of whom are represented in major collections, including the Saatchi, V&A and Wellcome Trust's. The show explores the ideas that surround our common experience of 'liminality', of existing in 'a space between' places, ideas, thoughts and emotions. The venue itself, with its tombstones and relics of those who have 'crossed over', is perfect for a discussion of the theme, occupying as it does the middle ground between states, the ephemeral and the permanent, life and death.

The current Zeitgeist dictates that we can be anyone or anything if only we try hard enough, or are good enough, and so increasingly we find ourselves in a 'space between', somewhere between 'being' and 'becoming'. It's a place of transformation and possibility, rich with longing, melancholy and fantasy. Only here are we able to stop and contemplate – but never entirely grasp – the state of flux that characterizes our lives.

This sense of being poised on some kind of threshold is all the more topical because of the precariousness of the age in which we live. As the artist Doris Salcedo has said, 'Precariousness produces an image in which the nature of the work is never entirely present.' The artists' diverse practices of sculpture, video, photography, installation and performance each tap into different aspects of the theme:

Annie Cattrell describes herself as 'a runner between worlds', between science and art. Her work deals with the fleeting and ephemeral, those things that are normally invisible to the human eye – a breath inside a human lung or cloud formation on a particular day. She will be showing 'Ranges', which captures in glass a whole spectrum of human facial expressions from neutral indifference to laughter and anger.

Amanda Couch has created an alter ego, 'a traveller, somewhere between civilized and savage, woman and child, space and time'. She has created a new work especially for The Space Between, which she will perform at the private view.

Richard Ducker makes sculptural objects coated in concrete that are at once sombre and humorous. He combines the found with the made object to suggest private stories embedded in works which 'evoke nostalgia, myths soaked in dreams, and fairy-tales gone wrong', and will be exhibiting a new work, 'Aqualung'.

Jan Dunning works with a pinhole camera, offering an unsettling, enigmatic perspective on the 'natural' world. Her work exploits the ambiguous and transformational perspective of the pinhole photograph to present confrontations between fiction and reality, the possible and impossible, the natural and unnatural.

Joy Gerrard concentrates on space, site, politics and a visual response to the city as a site of transformation. She looks at the idea of 'the crowd' framed by urban space in an attempt to address some fundamental questions about the changing political face of the city. Recent work includes large-format drawings of crowds forming to mourn and protest as well as miniature animation and video works that comment on the politics of congregation and dispersal in urban spaces.

Kate MccGwire uses impure materials, most recently pigeon feathers, to create forms that exist somewhere between myth and reality, deliberately playing with Freud's notion of 'The Uncanny' (that sense of something which is both familiar and strange) to unseat our sense of well-being. She will be showing 'Rile', a feathered hybrid, half serpent half snake, and 'Sluice', an effluent-like flood of pigeon feathers, both of which play on the material's ability to elicit wonder and repulsion in equal measure.

Marilène Oliver works at a crossroads somewhere between new digital technologies, traditional print and sculpture, her finished objects bridging the virtual and the real worlds. She works with the body translated into data form in order to understand how it has become 'unfleshed', in the hope of understanding who or what it has become. To this end she uses various scanning technologies, such as MRI and PET, to reclaim the interior of the body – a threshold portraitists don't generally cross – in all its physical beauty. And yet we are never privileged a complete view of the body before us; in her 'Family Portrait' series (which will be shown in its entirety) our gaze is constantly drawn to the gaps, the spaces between the printed sheets, each representing a slice of the body.

Kate Street uses language and well-known stock phrases as a starting point for her sculptural works that strike a balance between the theatrical and the absurd, the romantic and the deathly. She is creating two new works for the show, one of which 'Bird in the Hand' explores our need to compare our achievements with others', to dissect and analyse, in the search for the root of what makes us happy.

Esther Teichmann uses the medium of photography and video to examine the relationship of the self to the maternal body and to the body of the lover. Desire and fear of loss are subtly and yet powerfully evoked in these explorations of the visceral and expressive properties of the human physique and skin. Teichmann will show 'To Get There', a video work which invites the viewer to enter into the intimate world of the mother longing to comfort an adult child.

The exhibition runs from 5 to 21 June at The Crypt, St Pancras Church, Euston Road, London NW1 (private view with live performance: 4 June, 6–9pm). Opening times: 12.30pm to 6pm, Tuesday to Sunday
Artists' talk: Sunday 7 June (2.30pm); to reserve a free place email emma.lilley@btinternet.com (numbers are limited)
For further information or images see www.thespacebetween.org.uk

THE BEAUTY OF DISTANCE

2009-06-22T00:22:00.000-07:00

THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age' was today announced by David Elliott, Artistic Director, as the exhibition concept for the 17th Biennale of Sydney, 12 May – 1 August 2010.

Elliott said: 'There is no more suitable stage than Sydney for this exhibition. It will take place against the iconic backdrop of the harbour and Sydney Opera House at the site where British explorers first encountered the local inhabitants. At that time, colonial powers believed western civilisation was invincible and that they had the right to collect and possess universal knowledge. We now recognise such an ambition is both infantile and dangerous.'

Elliott continued: 'In a land that has traditionally regarded distance as a disadvantage, the art specially chosen for this exhibition will celebrate the many different beauties of distance by showing contemporary perspectives from all around the world. It will be an exceptional experience – challenging, but above all enjoyable.'

Since 1973, the Biennale of Sydney has showcased international and Australian contemporary art and is one of the most celebrated and respected biennale exhibitions. The 17th Biennale of Sydney will take place in venues and sites around Sydney Harbour, including Cockatoo Island, Pier 2/3, the Museum of Contemporary Art, Sydney Opera House, Royal Botanic Gardens and Artspace.

Elliott said: 'Distance allows us to be ourselves despite the many capacities we share. We are all the same, yet different, and it is our differences that make us – according to the circumstances – beautiful, terrifying, attractive, boring, sexy, unsettling, fascinating, challenging, funny, stimulating, horrific or even many of these at once. The idea of distance also expresses the condition of art itself. Art is of life, runs parallel to life and is sometimes about life. But for art to be art (a medium of numinous, sometimes symbolic power), it must maintain a distance from life. Without distance, art has no authority and is no longer special.'

The subtitle of the 17th Biennale of Sydney – 'Songs of Survival in a Precarious Age' – is inspired by experimental film maker, anthropologist and musicologist Harry Everett Smith (1923–91), whose compilation of historic recordings, Anthology of American Folk Music, appeared in 1952 at the height of the Korean war and Senator McCarthy's political witch hunts in the USA. A program of concerts, performances and events will coincide with the exhibition.

Elliott remarked: 'Smith's offbeat intuition, integrity, unique sense of popular history, and eye and ear for quality provided inspiration and guidance for generations of future musicians, listeners and artists. The breadth of Smith's interests and his commitment to all forms of art – from abstract films, to folk music, blues and Native American dance rituals – are a guiding example I have followed in conceiving this Biennale. I have also tried to reflect his political belief that creativity – and the honesty that it demands – is the liberating birthright of us all.'

Marah Braye, Chief Executive Officer, Biennale of Sydney commented: 'David Elliott's inspiring talent and passion will deliver a groundbreaking Biennale and demonstrate the vibrancy and importance of contemporary art. Its impact will be resounding – for Australian and international artists and visitors alike.'

Braye continued: 'The Biennale of Sydney consistently meets the challenge of presenting engaging contemporary art to the broadest possible audience. The exhibition and public programs are free and have time and again provided inspirational and visionary art to Sydney and (inter)national audiences.'

To download the advance brochure featuring David Elliott's vision for the 17th Biennale of Sydney please visit www.biennaleofsydney.com.au

To arrange images and interviews, please contact:

Leah Thomson
Marketing and Benefaction Coordinator
Biennale of Sydney
+61 2 9368 1411
marketing@biennaleofsydney.com.au
www.biennaleofsydney.com.au

The Non-Age

2009-06-22T00:20:00.000-07:00

`In the future the idea of youth won"t make sense
anymore as everyone will try to dress, think and act
as an eternal young (wo)man."
Michel Maffesoli

If Marc Augé coined successfully the concept "non-places" in the 90s, we could rely on this idea as a starting point and launch the concept "non-age" as a term that in a challenging manner reflects the complexity of ageing in our hyper-consumer society.
As such, "The Non-Age" too questions relational, historical or sociological ideas and preconceptions concerned with ageing and old age, and especially the relationship that individuals have with this "new adulthood" in terms of income, health, social relationships, aesthetic image, and leisure.
Why the "non-age"? "Because we are experiencing –explains Paco Barragán, co-curator- progressively a canon of age in which youth, maturity, and adulthood become, both mentally and physically, one sole category within which the problems of youth become a concept that refers to the problems of any one of us in general, independent of his or her age. These "new adults" pursue goals by means of attitudes and strategies that, according to our puritan society, do not coincide with those commonly associated to or concerned with their age.´

Medical Hyper-Materialism
"Consumer society has imposed in the media a young, fresh, healthy, and an uncompromised body. And plastic surgery aims to achieve "persons without age" –suggests Oliver Kielmayer, director of Kunsthalle Winterthur and co-curator-. After all, surgery has become a very convenient and easy tool for some people or resolving aesthetic worries without having to go through (the hell of) the gym or the diet."
If before ageing was associated with old, decrepit, and tired bodies, now it represents a quest for good looking, fibrous, and worked out bodies that contribute to acceptance according to the new social canon.

Liquid Relationships
In "Liquid Love" Zygmunt Bauman analyzes in an intelligent manner the growing fragility of human relations. He concludes that in contemporary society human relations are considered fragile, unstable, and as easy to break as to create. Adults want to start new and at the same time more "liquid" relationships: relationships which are more open, more uncompromising, less traditional, and, above all easy to drop, as most of them –unlike in their earlier lives- feel their freedom particularly in the capacity of dissociating oneself from another person or situation.

These new attitudes question our preconceived notions on sexuality, ageing, and the representations of the body and constitute a clear break from many of the social taboos of our contemporary society.

Age, Anxiety and Solitude
Traditionally speaking, ageing has been compared with a disease. Once a person retires, the State retires them from life: they become a member of the passive class and a burden for a society. This produces situations of anxiety, solitude, anger and alienation. We thus find that a majority of elders, especially men, that have identified themselves throughout their lives exclusively with an active working life, which now is no longer there, suffering from a lack of self-esteem and a sense of uselessness.
Instead of being stigmatized as a burden, today"s elderly claim a new conceptual sense of old age.
The artists showcased in the exhibition "The Non-Age" reflect in their work both the quest for a new way of understanding and experimenting the intense process of "ageing", as well as poignant sentiments like solitude, anxiety, and fear of age and death that inevitably go with it.
Jean Jacques Rousseau one said "we have to oblige the person to be free"; paraphrasing him we could affirm that now society with its obsession for youth "wants to oblige the person to be young".

Participating artists
Miguel Angel Aguirre (Peru), Jesús Segura (Spain), Erwin Olaf (The Netherlands), Peter Granser (Germany), Ana de Matos (Spain), Luis Molina-Pantin (Venezuela), Dani Marti (Australia/Scotland) Sabine Dehnel (Germany), and Thomas Zoll (Switzerland).

Curators
Paco Barragán, Oliver Kielmayer (director Kunsthalle Winterthur)
Organizing institutions
Co-production of Kunsthalle Winterthur (Winterthur, Switzerland) and Bienal de Lanzarote (Spain)
Exhibition dates
6 June- 31 July 2009 Kunsthalle Winthertur; Bienal de la Lanzarote -19 October 2009 – 19 January 2010
Other venues
The show is open to itinerate to other venues after February 2010.

David Cerny

2009-06-22T00:17:00.000-07:00

Prague's newest international gallery of contemporary art, Dvorak Sec Contemporary, is proud to announce an upcoming exhibition that will feature works by the notorious Czech artist David Černý. Following a successful exhibition of works by Julian Opie, Dvorak Sec Contemporary will be the first space to present an exhibition by David Černý since he unveiled the scandalous Entropa in Brussels and created uproar throughout Europe by depicting stereotypes of EU member states.

David Černý has a long history of international exhibitions and his work has been displayed in a number of prestigious institutions including PS1 in New York and the Museum of Contemporary Art in Chicago. He also participated in the exhibition Impermanent Places, Seven Installations from Prague in the World Financial Center in New York as well as in the 22nd Sao Paolo Biennale in Brazil. His work can be found in collections in Berlin, Prague, Washington and California.

Included in the exhibition will Černý's infamous 'Shark' which depicts a life-size sculpture of Saddam Hussein in his underwear, trussed up in ropes and chains, and suspended-in a Hirst-like manner-in a liquid filled glass tank. Exhibiting this highly controversial piece, which was banned from two European cities in 2006, keeps with the gallery's mission to present forward-thinking and provocative art.

Dvorak Sec Contemporary is a newly opened 800 square meter gallery in focused on contemporary art. The gallery presents a distinctive program of exhibitions that introduces young and emerging artists in addition to showcasing the works of established international artists. Though the gallery opened its doors only last month, its founding company has a 12 year history within the contemporary art market, and was the organization that founded of Sculpture Grande, an annual outdoor art festival that exhibited contemporary sculptures in the city center of Prague. The project attracted highly-esteemed international artists such as Erwin Wurm, Julian Opie, Stephen Balkenhol, Dennis Oppenheim, Mark Titchner, Sylvie Fleury, all of whom collaborated with the gallery to display their sculptures in historical Prague.

Red Thread

2009-06-22T00:14:00.000-07:00

he exhibition 'Red Thread' is conceived as a 'prologue' to 11th International Istanbul Biennial (12 September - 8 November, 2009). The Biennial is entitled 'What Keeps Mankind Alive?', which is the English translation of the protest song 'Denn wovon lebt der Mensch?' from The Three Penny Opera, written in 1928 by Bertolt Brecht, in collaboration with Elisabeth Hauptmann and Kurt Weill. 'The Three Penny Opera' thematises the process of redistribution of ownership within bourgeois society and sheds an unforgiving light onto a variety of elements of capitalist ideology. Brecht's assertion from this play, that 'a criminal is a bourgeois and a bourgeois is a criminal' is as true as ever, and the correspondences of rapid developments of liberal economy on disintegration of hitherto existing social consensus in 1928 and in present times are striking.

The concept of the Biennial proposes not to go back to Brecht as a classic that needs to be rediscovered and shown to new generations, but rather to reflect on latencies of the past in the present and investigate possibilities of art to re-examine old and open new relationships between social engagement and aesthetic gesture.

'Red Thread' exhibition presents artistic positions related to Biennial themes and process of its inception, creating fragmented narratives dealing with questions of auto-histories, self-positioning, post-colonial context, dataesthetics, corporeality, religious hypocrisy, reinterpretation of (art) history and critical artistic engagements in non-central zones of Western project of modernism. The title 'Red Thread' refers to the continuity of aspiration to imagine in reality the consequences of a new possibility repressed by the dominant state of affairs, as the guiding principle that threads and circulates through times and places. The thread may stretch, meander or bifurcate, but it never breaks. The 'Red Thread' is a metaphor for invisible but vital relations that in continuo link up different endeavors and explorations regardless of their spatio-temporal determinations.

The 'Red Thread' exhibition in Tanas continues the opened research process of 11th International Istanbul Biennial, started through a series of round table and public lectures under the same title, organized in Istanbul in 2008 and 2009.

Artists:
Vyacheslav Akhunov, KP Brehmer, Shahab Fotouhi, Igor Grubić, Nilbar Güreş, Vlatka Horvat, Jesse Jones, Runo Lagomarsino, Marina Naprushkina, Trevor Paglen, Lisi Raskin, Canan Senol, Walid Sadek

curated by What, How and for Whom/WHW, Zagreb

TANAS is an initiative of the Vehbi Koc Foundation, Istanbul.

King's Way

2009-06-15T21:04:00.000-07:00

Kings Way is, without a doubt, the most significant piece of literature on the beginnings of Australian and in particular Melbourne’s graffiti culture that has ever been produced. It acts as a bible, chronicle and visual encyclopaedia of the evolution and rise of this influential subculture through 80s and early 90s and pays tribute to Melbourne’s early writers and crews that helped build their city’s international reputation as a graffiti style capital.

Mapping the progression of styles, influences and key players in the graf scene the attention to detail is unmatched. Over the last two years co-authors and Australian graffiti veterans Duro Cubrilo (the man behind the Rose St. Market wall), Martin Harvey and Karl Stamer have painstakingly crafted Kings Way into a 384 page book featuring over 12 hundred full-colour images with contributions by over 60 people including the likes of Bathy, Chose, Duel, Duet, Krisy, Merda, New2, Paris, Peril, Puzle, Ransom and Ron the Train Driver. A serious task.

As well as the regular edition of the book which will be available from July 1st, 2009 for AUD$64.99, the guys will also be releasing 200 hand-numbered limited edition versions of the book which feature a protective slipcase box, foil detail, unique end paper design and images and are each individually signed by the authors.

Don’t sleep on this one.

A snapshot of Nurtured...

2009-05-07T23:12:00.001-07:00

For those of you who couldn't make it along to The Rose St. Artists' Market's brush with LMFF, you can view all the action on our flickr page.

There's heaps of photo's from what was a very successful day at the market!

Check out the pics here: http://www.flickr.com/photos/rosestmarket

Bicycles for Humanity

2009-03-25T18:49:00.000-07:00

Got an old mountain of hybrid bike want to give to a good cause?

Then donate it to Bicycles for Humanity (www.bicyclesforhumanity.com) this Sunday 29th March from 1-5pm at 170 Edward Street, East Brunswick.

Your bike will be sent to Namibia where our partner BEN Namibia receives it. The shipping container becomes a Bicycle Empowerment Centre - a shipping container bike workshop. Clever, huh? It will provide skills training, business opportunities and employment for the community in which it is placed. Your bike will remove the tyranny of distance for the HIV aids remote care workers, amongst others, to whom the bicycles are distributed.

If you can’t get to Brunswick, get in touch with Andy at info@bicyclesforhumanity.com to arrange drop off to their Caulfield drop site.

You can tag your bike so that the recipient in Namibia can get in touch and let you know how you’ve changed their life. How good will that feel?

Nurtured - Runway Shows

2009-03-15T22:21:00.000-07:00

We are proud to present our dsigners who will take part in Nurtured at the Rose St. Artists' Market as part of The L'Oreal Melbourne Fashion Festival. Runway shows start at 11.30am until 3.30pm on Saturday 21st March 2009 at The Rose St. Artists' Market 60 Rose Street Fitzroy. Please come down and check out Melbourne's youngest and freshest fashion design talent!

Handmade Nation

2009-03-10T19:54:00.000-07:00

In the world of crafters, artists and designers, there has never been such an anticipated indie documentary. The Stitches & Craft Show is presenting the exclusive Australian Premiere of Handmade Nation.

Handmade Nation documents a movement of artists, crafters and designers who work with traditional and contemporary techniques. Faythe Levine is a pillar of the do-it-yourself movement and the passionate creative behind Handmade Nation, the book and now the film.

Faythe travelled 19,000 miles throughout the USA to document what has emerged as a marriage between historical technique, punk culture and the D.I.Y ethos. This film reflects the new economy and lifestyle based on creativity, determination and networking.

Faythe will be in attendance at the Melbourne show to talk about how she captured the essence of our globally tight-knit crafting community so go and say hi!

Wednesday 11th - Saturday 14th - Screenings at 6:30pm and 8:00pm at the Stitches and Craft Show. Cost is $10 for movie.

Sneak Peek...

2009-02-05T16:15:00.000-08:00

The Rose St. Artists' Market is pleased to be involved in this year's L'Oreal Melbourne Fashion Festival as part of the official cultural program.

We'll be featuring some of Melbourne's best up and coming designers and artists with a specific twist on sustainable fashion so stay tuned for more details...

The event will be held on March 21st, 2009.

The Kumasi Curio Kiosk Project

2009-01-12T17:27:00.000-08:00

The Kumasi Curio Kiosk Project
Tapping Local Resources For Sustainable Education Through Art
Kwame Nkrumah University of Science and Technology (KNUST)/AfriCOAE
Department of General Art Studies, College of Arts and Social Sciences,
Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana
Phone: Nana Afia Opoku-Asare-KNUST: 233 (0)20 8
Contact: Barthosa Nkurumeh
africoae@gmail.com
www.afropoets.tripod.com/eta,

July 31-August 14, 2009
All submissions will be reviewed until available space is filled.
CALL FOR ARTS PRACTITIONERS - The Kumasi Curio Kiosk Project

One means of Tapping Local Resources for Sustainable Education through Art is by bringing together specialists form diverse parts of the world in a trans-national platform for inter-trading of cultural and knowledge capital in evidence-based society. In the Kumasi Curio Kiosks Project, the trade of intellectual capital from the specialist to the generalist requires both the sharing of existing and onward replication of the modules of knowledge that may accrue. Interestingly, the specialist participant will create a Curio Kiosk of 6 x 6ft for a temporary exhibition/stock of works by the specialist, and relevant other national cultural/intellectual capital for trading with the locals. The 6 x 6ft kiosk can be conceived as a mental space or a constructed physical space with any material, constructed on site or pre-fabricated, and as an individual enterprise or a collaborative one.

In the Kumasi case, we refer to the cluster of curio kiosks as a Trade Commune; a historical allusion be made subtly but we use the term 'curio kiosks' in anticipation that the outward design will invoke curiosity or content will bear special attraction to the locals. The setting for a Trade Commune may be a Kumasi city street, university campus, or a village within the Kumasi metro, as appropriate to the design of the arts participant. The mode of exchange is open in manners of traditional lectures, demonstrations, workshops, dialogical methods, and direct exchanges of material culture; or the post-modernist modalities in the way of performances, slide/new media/film screenings, and a hundred others. A trade may be by barter, cash, gift to the local or what ever is simpler and mutual. The trade is not just an inventory of arts data, cross-cultural process of negotiation and sharing of evidence creation; it is an engagement in a particular kind of commercial enterprise through use of the arts. Relying on collaboration, and free exercise of the arts, we therefore seek to stimulate for intellectual freedom and renewed vision of the arts as economic-cultural capital in the city. Because the process and structure encourages integration/assertion of the participant's institutional knowledge and national cultural capital, the supposition is that the individual or group would attract sponsorship for own costs from home institution or country.

The Kumasi Curio Kiosks Project is a project session of 'The Kumasi Symposium: Tapping Local Resources for Sustainable Education through Art'. The arts-based social experiment is designed to provide a context that will stimulate the artist, scholar and activist participants to place themselves and their practice into question and possibly resolutions through collaboration and cultural/artistic interchange. The pre-symposium session will run from July 31-August 8 2009 and the symposium from July 11-14 2009. About 30 local artists will be selected to work alongside some invited international colleagues.

If interested in participating in the project, send an introductory material on you, and a statement of interest with sketches/description of your proposed 6 x 6 ft Curio Kiosk that should be set up at Kumasi between July 31-August 7 2009 to africoae@gmail.com, -indicate if any local needs will be required (max. one page). Space is limited; all submissions will be reviewed until space is filled. We are also accepting nominations for the Project Co-Curator, Convener, Provocateur and Roundtable Discussants.

CALL FOR PLENARY SESSIONS, DEMONSTRATIONS/WORKSHOPS, EXHIBITIONS/INTERVENTIONS, AND CONTEXT-SPECIFIC PERFORMANCES - Tapping Local Resources For Sustainable Education Through Art

A call is made for contributions addressing one or more of the symposium strands and topics: Art Education Practice, Studio Practice, Curatorial/Museum/Community Arts Practice, Art History/Criticism, Arts Administration/Management/Marketing Practice, and Open Session. The aim of this symposium will be to map a multiplicity of perspectives and initiate conversations which seek to help us navigate and understand our position as individuals and communities in dealing with the issue of sustainability in the 21st century to enable fresh vistas to visual arts education developments in Ghana and perhaps similar settings. Submissions are, therefore, invited from people who would like to present in the symposium plenary sessions or support activities such as demonstrations/workshops, exhibitions/interventions, and site-specific tours of local national resources. Expression of interest and proposals for panels and Exhibitions/Practical Workshops will be reviews until January 17, 2009. We expect about 200 participants from around the world. The working language of the conference will be English. Applications for individual paper presentation and participation will be reviewed until the space is filled. All abstracts and brief biographies should be submitted to africoae@gmail.com. More at http://afropoets.tripod.com/eta

CONTACT PERSONS:
(1) Barthosa Nkurumeh, AfriCOAE General Secretary, Instructional Leadership & Academic Curriculum Dept, University of Oklahoma, Norman, OK 73070, USA. E-mail: nkurumeh@ou.edu

(2) Nana Afia Opoku-Asare, Head of Department, Department of General Art Studies, College of Arts and Social Sciences, Kwame Nkrumah University of Science and Technology-KNUST, Kumasi, Ghana. E-mail: naopoku-asare.art@knust.edu.gh, afia_asare@yahoo.co.uk Tel: 233 (0)20 816-8598/233 (0)51 634 83.

fake or feint

2009-01-12T17:24:00.000-08:00

Scenario 1: Claude Cahun, Eran Schaerf
fake or feint
im Berlin Carré
Karl-Liebknecht-Str. 13
10178 Berlin
Phone: +49 171 74 84 366
Contact: Joerg Franzbecker
office@fakeorfeint.org
www.fakeorfeint.org

Opening on January the 10th from 7 to 9 p.m.

Opening hours:
Thursday + Friday 4 to 7 p.m., Saturday 11 a.m. to 4 p.m. and on appointment
The first scenario of the exhibition series fake or feint, from January 10th to February 7th 2009, shows photographic self-portraits by Claude Cahun and an installation by Eran Schaerf. The opening is on January 10th from 7 to 9 p.m.

Claude Cahun's (1894-1954) photographic work was widely overlooked by art history until its rediscovery in the 1980s, when, against the background of feminist debates, it gained unexpected relevance. Influenced by contemporary currents of symbolism and surrealism, her self-portraits display a unique perspective on the body, staged as a projection screen for social norms and personal and external desires. A play with disguise and gender masquerade inquires the relation of gaze and being seen, and the way this becomes effective in the visual setup of the portrait. Her work thereby refers to cultural stereotypes of her time, which are decoded and subverted, confronting them with a subtle and unpredictable expressivity. Shown are three photographic works from the 1920s.

Eran Schaerf sets up a combined re-enactment of prior works.

The installation Voile lances the room with a cloth panel, its course following the basic architectonic structures. In a gesture of reduplication a second, semi-transparent room is created. The attention is directed to the way how architecture opens the room as a stage for views and movements, thus enabling and structuring social interaction. This diaphanous barrier, resembling a curtain or a veil, is a marking that unfolds a play of visibility that crosses the coding of the public and the intimate.

The situation established by Voile is continued by a narration of the Sapeurs, drawing on clothing as a practice with manifold cultural, gender-related and functional codifications. La Sape (short for: La Société des Ambianceurs et des Personnes Élégantes) is a movement originating from Kongo. Its mostly male protagonists use western designer brands for distinctive self-representation. Eran Schaerf frames the intricate trails of global exchange and the contradictions arising from acts of appropriation and translation into a narrative setting: A shirt by Paul Smith becomes a momentum of crisis in the life of a Sapeur. In Paris, the Sapeur comes across a shirt, which has its own history of migration. It is tailored from a Kanga, a rectangular piece of cloth, which in Africa serves in different functions as a garment.

fake or feint is a seven-month exhibition project taking place at Berlin Carré at Alexanderplatz, Berlin. Five consecutive exhibition scenarios and a film scenario at Kino Arsenal at Potsdamer Platz deal with the politics of the surface and acts of marking as an intervention. Internationally renowned artists show works ranging from photography, video- and space installation to site-specific intervention. A ‚second section' designed by artist Katrin Mayer hosts a process-related archive with selected material. A series of events accompanies the exhibitions with seminars, lectures, performances and artist talks. fake or feint is funded by Hauptstadtkulturfonds.

Upcoming scenarios:

Scenario 2 (February 21st to March 21st, 2009)
Kaucyila Brooke, Sofie Thorsen / Katharina Lampert

Scenario 3 (March 9th, 16th and 23rd, 2009)
A film program curated by Elena Zanichelli and Joerg Franzbecker, taking place at Kino Arsenal at Potsdamer Platz.

Scenario 4 (April 4th to May 2nd, 2009)
Amy Granat, Annja Krautgasser, Katrin Mayer

Scenario 5 (May 16th to June 13th, 2009)
Daniela Comani, Keren Cytter, Heiko Karn

Scenario 6 (June 27th to July 25th, 2009)
e-Xplo, Daniel Knorr, Eske Schlüters / Axel Gaertner

Series of lectures and performances with contributions by:

Martin Beck / Johannes Schülein, Elena Esposito, Tom Holert, Jan Kedves, Hanne Loreck, Annette Maechtel, Performerstammtisch, Markus Rautzenberg, Tim Stüttgen and Michael Zinganel.

Team:

Joerg Franzbecker with Martin Beck (curators), Adrian Bremenkamp (catalogue and archive), Bärbel Hartje (consultant), Katrin Mayer (exhibition design), Flo Gaertner (graphic design), Elena Zanichelli (film program).

Exhibition venues:

Berlin Carré shopping mall at Alexanderplatz, Karl-Liebknecht-Strasse 13, Berlin
Film program: Kino Arsenal at Potsdamer Platz (March 9th, 16th and 23rd, 2009)

Opening hours:
Thursday + Friday 4 to 7 p.m., Saturday 11 a.m. to 4 p.m. and on appointment.
For further information concerning events and the upcoming scenarios please see: http://www.fakeorfeint.org

'Dogs on Rocks - in the Woods - at the Seaside'

2009-01-12T17:18:00.000-08:00

'Dogs on Rocks - in the Woods - at the Seaside'
Galerie Bugdahn und Kaimer
Mutter-Ey-Strasse 5
D- 40213 Duesseldorf, Germany
Phone: +49 - (0)211- 329140
Fax: +49- (0)211- 329147
Contact: Udo Bugdahn
bugdahn.kaimer@t-online.de
www.bugdahnundkaimer.com

Gallery hours: Tu-Fr 12 noon - 6 pm, Sa 12 noon - 4 pm
WILLIAM WEGMAN 'DOGS ON ROCKS – IN THE WOODS – AT THE SEASIDE'

Following our exhibitions of photo pieces and Polaroids by William Wegman (*1943) in the years 1995, 1997 and 2004, and of drawings in 2007, Galerie Bugdahn und Kaimer now presents a series of new coloured photographic works by this American, New York-based conceptual artist who is equally at home in the media of painting, drawing, video, film and photography.

The photographs shown in the exhibition 'Dogs on Rocks – in the Woods – at the Seaside' are Chromogenic prints, 14 x 11 inches / 35.5 x 28 cm, made in an edition of twelve. Most were taken on Baker's Island, on Wellington Dock in Southwest Harbor, and in a few other places nearby on the Maine coast during late July and August. They span a period of ten years and include six dogs from four generations: Chundo, Batty, Chip, Bobbin, Candy and Penny.

A hardbound Artist's Book, William Wegman: Dogs On Rocks, is just out, with 136 pages and 86 colour plates, and is available at the exhibition.

Wegman's name is linked inseparably with his photographs of Weimaraner dogs. He first became known for cryptically ironic photographic and video works (with and without dogs); but in the 1970s he attained world renown when he discovered the talents of his first Weimaraner dog, Man Ray, as a gifted model and an ideal interpreter of human idiosyncrasies. As Wegman recalls, some dogs dislike being stared at; but Man Ray insisted on it.

In 1979, the Polaroid Corporation invited the artist to work with a newly developed camera, the now legendary Polaroid 24 x 20 Inches (60 x 50 cm). Sceptical at first, Wegman familiarised himself with the enormous instrument that looked like a cross between a refrigerator and a cello, as he put it, and soon found himself enthusing over the unusual picture scale. The outcome was a remarkable oeuvre of singularly sharp, large-scale photographs, each a unique piece, as only this Polaroid camera – one of only three in existence worldwide – can produce.

In 1981, Man Ray died. Only in 1986 was he succeeded by Fay Ray, a born dog diva with no less flair. Fay opened the door to altogether new motifs. She could move gracefully, assume different positions and poses, arch her neck, turn her head round, cross her legs. She liked to impress him, Wegman says. Meanwhile the fifth generation of her offspring pose in front of the camera.

William Wegman is a master in his handling of the photographic medium, versed in generating from the interplay with his dogs one new, startling pictorial idea after the other, sublime in quality and originality. Many of his photographs have the air of paintings and recall subtle still life compositions and film sequences. Apart from which his Weimaraners remain unsurpassed in beauty, expressive power and elegance.

Photographs by Wegman can be seen in exhibitions in museums and international galleries the world over and have entered all the larger collections. Numerous retrospectives have been devoted to his work, touring the U.S. to stop at many venues including the Whitney Museum of American Art in New York, and beyond, in Japan, Korea and Europe.

Besides film segments regularly featured since 1989 in Sesame Street, Wegman has also made films and videos for such programmes as Saturday Night Live and Nickelodeon. His film, The Hardly Boys in Hardly Gold, was shown to great acclaim at the Sundance Film Festival.

Today William Wegman and his Weimaraners are amongst the most popular figures on the international art and media scene.

The Private View is on Saturday, January 10, from 1 – 5 pm. Exhibition to February 21, 2009.
Gallery open Tuesday - Friday 12 noon – 6 pm, Saturday 12 noon – 4 pm; and by appointment.

In-between worlds: The Art Of Nick Ervinck

2009-01-12T17:13:00.000-08:00

Kunstverein Ahlen
Kőnigstrasse 7
59207 Ahlen
Phone: + 49.2382.3511
Fax: +49.2382. 60863
Contact: Angelika Kossmann
kossmann@fd-ahlen.de
www.kunstvereinahlen.de

18 January 2009 - 22 February 2009
Opening: Sunday 11 January 2009
Opening hours:
Thursday-Saturday 15-18 PM
and Sunday 11 AM - 17 PM
In-between worlds: Reality and virtuality in the art of Nick Ervinck

by Anneke Bokern

A large yellow ball lies in the middle of a facetted brick column structure, which is lit up from the inside. The object is intricately detailled, stands on a heptagonal base, light shining through some ornamental slits. At first, the viewer is irritated. Not that the sculpture doesn't evoke associations: the images that layer themselves in front of the inner eye range from Renaissance baptisteries to archaic temples and the well in the fairy tale about the frog prince. There are rather too many than too few references, and none of them is unambiguous. The fact that the sculpture with the title CORECHNOTS is only knee-high, but that a very similar object appears as an approximately thirty meter high building in a landscape on a digital print (which enriches the multitude of references with allusions to utopian architecture, such as El Lissitzky's 'cloud-irons'), obviously makes it a model. Or is the opposite the case, does the print show a larger-than-life-sized digital model of the sculpture? Does the sculpture belong to the virtual world and has entered our reality? Or is it a design for a different reality?

Nick Ervinck's works play with the viewer's image of reality. They trigger a dialogue between print and sculpture, between virtual and real world, and it is in this in-between space that the young Belgian artist's works live. Mostly, they exist in several media simultaneously, without being subject to a linear system of interdependence. 'My virtual images constantly infect the real world and the other way around', Ervinck explains. Accordingly, questions about a chronological order or a hierarchy of media are futile. Study is final work, computer rendering is sculpture, image is object.

Complexity as an answer to a complex world

Ervinck's works form a parallel universe, which obeys exclusively to its own laws and is inhabited mainly by architectural objects, by blobs, boxes and archetypes. In his film installations, these become unexpectedly dynamic – morphing, growing, shrinking and bubbling to the heart's content. The short film sequences are in fact visual poems, which one can keep watching for hours without getting bored, even though they don't have a narrative structure. The sculptures become snap shots that have been transported into the tangible world, meaning that they can be read as materialized film stills. This absurd thought barely formulated, however, one already has to ask oneself again whether the opposite might not rather be the case, and the films illustrate the different developmental stadia of the sculptures.

It doesn't make things easier that the different media are increasingly converging in Ervinck's oeuvre. By definition, computer animation is a fast, modern medium and sculpture is a slow, traditional medium. Ervinck, however, is working on perfecting both in order to let them become as 'realistic' as possible, as paradoxical as that might sound in the context of his art. Considering the increasing refinement of computer technology and the skill that Ervinck is acquiring at making his sculptures, this should eventually lead to optical congruence. Will Ervinck's universe have become reality then? That's probably not even his aim. As he once said, he isn't interested in the real world. That might be true, as in fact Ervinck creates art about the creation of art and about creative processes, a kind of meta-art, which can appear nearly autistic in its obsessiveness, perfectionism and surrealism. On the other hand, Ervinck does create his art in response to reality. 'The world is complex', says the artist. 'As a reaction to this, I have decided to create an even more complex world, which helps me to understand the real world.' He has been working on his alternative world for years, even though it can only be realized partly or in models.

Art and perfection

And yet, makeability plays an important role in Ervinck's art. As counterpart to the graphical evolution of the computer images, he researches the possibilities and limitations of materials in his sculptural work. For SIUTOBS, he produced thousands of tiny bricks, measuring 5 x 9 millimetres, just big enough to still lay them. Here, his predilection for manic puzzlework meets his perfectionism and his fascination for the limits of makeability. 'I'm looking for the extreme in miniature. How small can something be if it's still supposed to be perfect?'

Therefore it comes as no surprise that Ervinck wanted to become an accountant when he was a teenager. His penchant for systemizing, tabulating and planning the world – albeit according to an utterly idiosyncratic system – has resulted in a personal image archive, which counts nearly 18,000 images, organized in alphabetical order. As anagrams, constructed from several words, the cryptic titles of Ervinck's works also relate to the system of this archive. He is the librarian of his own universe. Besides his own works, the archive originally also included photos found on Google, but by now the computer animations have gained the upper hand. Or as Ervinck puts it: 'The virtual world is increasingly sucking up reality'. It only adds to the intricacy of this artistic hall of mirrors, that the images of reality were taken from the virtual space of the internet.

As surreal as Ervinck's universe may seem, though, it does incorporate references to reality. With the exception of the abstract blobs and boxes, many of his creations are figurative. They're archetypal building-, boat-, and sometimes even animal-shapes. He once saw a coral in a shop in Venice, was immediately fascinated by its structure, bought it and took it to his studio in Belgium. Since then, he has been making as accurate ceramic replicas as possible of the coral, in order to find out how far art and nature can converge, searching for a perfection that transcends human shortcomings.

Deus Artifex

In fact, Ervinck deals with age-old, basic artistic topics. The question whether the artist is capable of transcending nature and producing a world of his own goes back to Aristotle and Plato and has been running through the entire history of art theory. In the end, it's the question about the idea and whether it develops a posteriori from the contemplation of nature or a priori from the artist's brain. If one follows the first definition, the artist is limited to imitating the visible world; if one follows the second, he is an image of God and can create his own worlds from nothing.

Ervinck fuses both concepts in his art. He strives to perfectly imitate elements of the natural world and at the same time to perfectly create an artificial world. As deus artifex, he builds a universe that follows his own rules and which he controlls. While the sculptures are subject to the fallibility of craft and material, these imponderabilities are practically ruled out in the computer animations. They're subject only to the limits of technology and its handling. 'The straightness and controllability of the virtual world appeal to me', he says. It's no wonder that he avidly played with Lego-stones as a child and later became addicted to computer games, mainly to the so-called 'god games' like SimCity – games in which the player creates and controls a virtual microcosm. As an artist, he continues this fascination and is constantly busy constructing and deconstructing his own cosmos. His quest for controll doesn't only concern his works, but also their surroundings, and the different manifestations of his works always react to or even influence the exhibition space. Placing his works as pre-fabricated solitaires in a White Cube isn't his kind of thing.

Mutual fertilization

Maybe the reason for this is Ervinck's explicit interest in architecture. 'I see more energy and innovation in architecture than in sculpture', he asserts. In his works, he plays with architectural stereotypes just as much as with the ideological and aesthetic antagonism of blob and box. By turning the laws of architecture upside down, he creates impossible architectural images, which are perfectly normal in his world. Sometimes the combinations seem abstruse, like the huge yellow egg inside a brick building which is folded open, its facades turned outside in (SIUTOBS). One can think of the most famous and mysterious egg in art history, the one in Pero della Francesca's Pala Montefeltro (1472), or one can read it as a symbol of fertility. After all, the artist often talks about a 'mutual fertilization of the real and the virtual world'. Ervinck himself, however, simply explains the egg as 'the ultimate blob-shape'. He understands SIUTOBS as 'an ode to architecture, in which the walls, liberated of all function, become pure sculpture.'

According to him, corals are also a kind of blobs, because they can grow endlessly in all directions (which, by the way, is something they have in common with his image archive) and because their complex shapes can only be imitated perfectly with the help of digital technology. However, their relation to the scale of architecture is even more concrete. A few years ago, Ervinck realized during a stay in Berlin that the city is permeated by conduit pipes, which form a huge, invisible coral structure. That gave him the idea of building his coral sculptures out of standardized PVC pipe segments from the DIY shop – not as final works, but as nearly life-sized models (YAROTUBS). The aim is to eventually make them from metal. If there is anything that can stop Ervinck's creative and perfectionist urge at the moment, it's financial limitations. 'In fact, all my works are studies', he says and leaves open whether that is a conscious decision or not.

Another computer animation shows a coral sculpture made of brick, its branches ending in chimneys (GNI_D_GH_177_SEP2006). As with this work, it's often easy to place Ervinck's visual language in the tradition of Belgian surrealism. Accordingly, hardly any discussion of his works lacks a mention of Magritte. The artist himself mainly feels related to the free thinking of the surrealists. His aim is to not fulfill the viewer's expectations of logic or realism. In this way, he confronts the viewers with these expectations and at the same time grants them entrance to his own universe, where librarian's mentality and limitless creativity, controll and anarchy, microcosm and macrocosm come together.

From the catalogue Nick Ervinck GNI-RI jan 2009 published by Kunstverein Ahlen
www.nickervinck.com

Off the Kerb & Whitelion present ‘if...’

2009-01-12T17:04:00.000-08:00

Off the Kerb
Gallery & Studios
66B Johnston Street
Collingwood 3066
p (03) 9077 0174
m 0400 530 464
e info@offthekerb.com.au
w www.offthekerb.com.au

Off the Kerb & Whitelion present ‘if...’

Opening Night: Friday 16th January 2009, 6pm – 9pm
Exhibition Dates: January 16th – January 30th 2009

Photographs by Chloe Robson, Wendy Megne & Greta Garbage

Whitelion is a not-for-profit organisation that supports young people to build better lives for themselves and helps make our community a safer place. Each year thousands of young people are disconnected from our community due to abuse and neglect, drug addiction and poverty. These young people have often had horrific life experiences with few positive role models and are caught in a 'cycle of discouragement' that is very hard to break. Many of these young people end up in Out-of-Home Care and in some cases in the Youth Justice System.

Chloe Robson, Wendy Megne and Greta Garbage are three young artists aged 16 - 21 years old, who have dedicated themselves passionately to producing this exhibition. Their photographs are unique, spellbinding and moving.

‘if...’ is the culmination of a 10 week program of workshops run by Whitelion and supported by City of Yarra Youth Services and ‘Off the Kerb’ Gallery. Using the unique and sometimes unpredictable Holga ‘plastic’ cameras these young artists creatively explored themes close to them. With images suggesting haunted corners, magical lands and social comment these young women present their unique and captivating view of the world.

Bridge Art Fair New York 2009

2009-01-12T17:01:00.000-08:00

Bridge Art Fair New York 2009
The Waterfront
222 12th Avenue
Phone: +1-312-421-2227
Contact: Michael Workman/Chris Hudgens
info@bridgeartfair.com
www.bridgeartfair.com/newyorkindex.html
March 5 - March 8, 2009
Deadline to Apply :
January 17, 2009

DEADLINE TO APPLY FOR BRIDGE NEW YORK JANUARY 17; EXPANDED PRICING OPTIONS ANNOUNCED
Deadline for all applications TO Bridge Art Fair New York 09: January 17, 2009

In response to prevailing market concerns, Bridge has modified its floorplan to provide more affordable options for galleries seeking participation in the New York art fair market during Armory Show week, March 5-8, 2009.

'We are always happy to provide more ways for great art to find its market,' says Founder and Director, Michael Workman. 'Art fairs have become too expensive and in the current climate, it's important that we try harder to help galleries go further on less.' The final application deadline is January 17.

New plans includes the addition of a 100 sq. ft. 'Verge' section booth that, at $5,000, represents the most affordable rate of any art fair in New York. The 200 sq. ft. standard booth is now available for $10,000, and a premium booth size of 300 sq. ft., the most spacious booth ever offered by the fair, is now available at $14,000.

These new Bridge rates and booth sizes provide a way for exhibitors to access an audience in 2008 well in excess of 12,000 attendees, for the price of a single page ad in Artforum. Unlike magazine advertising, however, participation in Bridge ensures direct face-to-face encounters with some of the top collectors in America and around the world, as well as museum, private collection and corporate curators, and large numbers of the national and international art press.

Galleries are encouraged to apply using a newly modified application now available for download at http://www.bridgeartfair.com/newyorkapplication.html.

Bridge New York '08 will present more than 60 international exhibitors from such diverse locales as Austria, Canada, China, Denmark, Germany, Italy, Korea, the Philippines, Spain, Switzerland, the UK, and the United States.

DOWNLOAD APPLICATION

http://www.bridgeartfair.com/newyorkapplication.html

For additional information, please write to us at: info@bridgeartfair.com.

Verge booth: 100 sq ft, $5,000
Standard booth: 200 sq ft, $10,000
Premium booth: 300 sq ft, $13,000

ABOUT BRIDGE ART FAIR

Bridge Art Fair, the Independent International Exposition of Art and Visual Culture, is a transnational art fair organization currently staging events in Berlin, Miami, New York, London and Basel, Switzerland.

Bridge Art Fair currently presents a combined total of nearly 300 galleries and over 2,000 artists at four expositions throughout the year. Visitors will discover a truly global selection of contemporary work from every imaginable medium, including but not limited to painting, prints, photography, sculpture, installation, drawing, film, video, new media, and conceptual art. In the short time since the premier of Bridge Miami Beach in 2006, total sales of nearly $30 million and more than 100,000 visitors have confirmed Bridge as a leading voice in the global art market.

MEDIA CONTACT

For more information, interviews or to register for press credentials, contact our marketing department at (312) 421-2227 or email at marketing@bridgeartfair.com.

PRESS HIGHLIGHTS from Bridge NY08:

Artinfo.com:
http://www.artinfo.com/news/story/27236/relaxing-at-pool-bustling-at-bridge/
(from Artinfo.com)
Relaxing at the Pool, Bustling at Bridge
'…gallerists said Thursday's preview and opening night reception were packed, and they had the red dots to prove it.'

Armory Week in Review: A Scorecard
'It was a pleasure to welcome this Miami native to New York City, and to find it in an excellent venue…this was a solid first appearance, and I believe we can now regard Bridge as a regular on the New York fair roster.'

Artfacts.net: Interview with Michael Workman
http://www.artfacts.net/index.php/pageType/newsInfo/newsID/4049

Bloomberg Press:
http://www.bloomberg.com/apps/news?pid=20601088&sid=aPzuJybiA7JA&refer=muse

Artinfo.com:
http://www.artinfo.com/news/story/27193/armory-satellites-plus-three-minus-one/

BREAD-MEN WALKING IN HONG KONG CITY

2009-01-12T16:56:00.000-08:00

Tatsumi Orimoto
Bread-Men + Finger Dolls
Para/Site Art Space
G/F, 4 Po Yan Street,
Sheung Wan,
Hong Kong
Phone: +852 2517 4620
Fax: +852 2517 6850
Contact: Dominique Chiu
dominique@para-site.org.hk
www.para-site.org.hk

Event: PERFORMANCE: BREAD-MEN WALKING IN HONG KONG CITY
Date: 16 January, 2009
Time: 5pm
Venue: From Para/Site Art Space to area around Graham Street Market, Sheung Wan
Event: LECTURE and SMALL PERFORMANCE: FINGER DOLLS
Date: 17 January, 2009
Time: 3pm
Venue: Para/Site Art Space, G/F, 4 Po Yan Street, Sheung Wan, Hong Kong
Curator: Alvaro Rodriguez Fominaya

Japanese Artist Tatsumi Orimoto Brings His Bread-Man Performance to Hong Kong

Para/Site Art Space is honored to present two new performances by Tatsumi Orimoto. The Japanese artist will perform his Bread-Man series in the area around Graham Street Market on the 16th of January. On the following day, he will perform his Finger Dolls series at Para/Site Art Space.

This is the first time he performs in China, and for the occasion he will recreate Bread-Man, which is a historic street action that he started in 1991. This time a large group of unique Bread-Men will walk through the streets of Hong Kong.

Tatsumi Orimoto (1946, Kawasaki, Japan) is one of the most renowned Japanese photographers and art performers. He moved to California where he studied at California Institute of the Arts, relocating later to New York where he was an assistant to Fluxus artist Nam Jun Paik. He participated in the Fluxus exhibition in New York, and later developed a collaborative work with Viennese Actionist Herman Nitsch. Ever since he went back to Japan in 1977, he has been devoting himself to his art works and the care of his elderly mother. This resulted in the project Art Mama, which has played a central role in the development of his later work as he started documenting the aging process of his Alzheimer's mother.

His performances are connected to the everyday experience of life. Through Bread-Man, he has created an alter ego that represents modern life and how we relate to the Other in contemporary society. Setting out from Para/Site Art Space at 5pm, Orimoto will take his fellow Bread-Men down Hollywood Road and go straight into Graham Street Market, a famous wet market in Hong Kong, where the consort of Bread-Men will communicate with the public.

Finger Dolls, the other event that is taking place in Hong Kong, relates to his latest project in which a sculptural component is brought into life, as the finger dolls used in this performance are crafted by the artist. Orimoto uses a common child toy and updates it into adult life. The performance will begin at 3pm at Para/Site Art Space, followed by a lecture by the artist himself.

Tatsumi Orimoto has exhibited in the Venice Biennial 2001, Yokohama Triennial 2001, Sharjah Biennial 2002, Busan Biennial 2002, Sao Paolo Biennial 2002 and B. Open at BALTIC Centre of Contemporary Art, among others. He lives and works with his mother in Kawasaki, Japan.

For more information, please contact Dominique Chiu at (+852) 2517-4620 or Dominique@para-site.org.hk.

Craft-in Demonstration

2008-12-01T22:23:00.000-08:00

On Monday the 8th of December, the Federal Government is giving big cash bonuses to pensioners, parents, low income families and first home buyers. The objective of this handout is to boost spending in order to keep the economy pumping but what the Government isn't talking about is the most effective way to spend this handout to truly support the economy.

As local artists and designers we understand the importance of buying handmade. We know that buying a handmade present means supporting your local community as well as being better for our environment too.

We want to give the community the message that if they really want to contribute positively to the Australian economy, they should BUY LOCAL HANDMADE products this festive season.

Did you know?

- For every $100 spent at a locally owned business $45 goes back into the community and our tax base. For every $100 spent at a chain store only $14 comes back.

- Small local businesses are the largest employer in Australia. Every $1million spent locally equals 14 jobs!

- Non-profit organisations receive 250% more support from small local businesses than from large businesses. So if you support local business you support local causes too!

- Local business are more likely to purchase goods and services from other local businesses which dramatically reduces transport costs, one of the biggest causes of climate change.

- Handmade goods are more likely to include recycled materials which reduces the need for landfills.

To help get this message out to the community, The Craft Cartel have organised a rally in the city and are looking for designers, makers and handmade retailers to join them and help spread the message of buying handmade. They're encouraging people to bring examples of their work as well as promotional material to distribute to people.

So join Melbourne designers and artists on the street and spread the word amongst your communities about buying handmade!

The event will be held in Bourke St Mall, Melbourne CBD, Monday December 8th...

Become a stallholder in 2009

2008-11-12T14:34:00.000-08:00

The Rose St. Artists' Market is now on the lookout for new stallholders for the January - April 2009 period. If you want to let your creativity loose on the Melbourne public, simply visit our website and apply online today!

We look forward to seeing you soon...

Tom Dale 'Kings Island' exhibition opens at Plymouth Arts Centre

2008-10-29T18:40:00.000-07:00

Tom Dale, The Cow Palace, 2008

Kings Island: Tom Dale
Plymouth Arts Centre
38 Looe Street
Plymouth
PL4 0EB UK
Phone: +44 (0)1752 206114
Fax: +44 (0)1752 206118
Contact: Hannah Prothero
info@plymouthartscentre.org
www.plymouthartscentre.org

27 September –16 November 2008
Open: Monday 5.30pm-8.30pm
Tuesday-Saturday 10am-8.30pm
Sunday 11am-8.30pm
This first major solo exhibition by young artist Tom Dale, traces the phenomenon of the motorcycle stunt rider, in particular the 1970s American icon Evel Knievel.

Dale's new sculptural work is a series of reconstructed stunt ramps whose trajectories have been skewed. Leading off into impossible directions they conjure up ideologies of national pride and sacrifice: launch pads for the political ideals of a culture and its time. Dale also presents a film work comprised of documentary footage of Knievel's jumps, interviews and excerpts from a film, in which Knievel starred as a fictionalized version of himself.

Evel Knievel was infamous to a generation of children for his toy figure merchandising. He was a shameless publicist as well as a self-proclaimed national icon, preaching a moral code that he hardly adhered to himself. Knievel and the stunt man's heyday was born out of great social upheaval in the United States. His philosophical monologues and acts to momentarily defy gravity proposed pseudo solutions to the problems of the era. Perversely offering the crowd a chance to witness either a death or a defiance of one.

Tom Dale's enquiry searches how these attitudes permeate the time we now find ourselves in, albeit with a set of different contemporary icons. The exhibition Kings Island takes its title from the site of one of Knievel's last motorcycle jumps in Kings Island, Ohio.

Tom Dale graduated from Goldsmiths in 2006. His videos, sculptures and installations have been shown throughout the UK, Europe and USA. Recent solo and group exhibitions include Template, Union Gallery London; Backseat Driver, City Gallery Auckland; Reckless Behaviour, the Getty Museum LA; and 13+, Florence Lynch Gallery, New York. He works with both objects and film, never more satisfied than when these mediums conspire to complement and undermine one another.

This project has been developed from a residency at the Centre for Contemporary Art, Warsaw, Poland. Supported by Arts Council England.

Christoph Draeger at Roebling Hall New York

2008-10-29T18:38:00.000-07:00

Nagasaki, (detail) 2008
8000 Puzzle Pieces

The End of the Remake
Roebling Hall
606 West 26th Street
(corner of 11th Avenue)
New York, NY 10001
Phone: +1 212 929 8180
Fax: +1 212 929 8182
Contact:
info@roeblinghall.com
www.roeblinghall.com

10 October - 15 November, 2008
Opening Thursday 9 October, 2008
Gallery Hours Tuesday-Saturday 12-6 PM
Roebling Hall is pleased to announce 'The End of the Remake', Christoph Draeger's 4th solo exhibition at the gallery. Draeger's long-term fascination with society's concern for disaster is again central to his current exhibition. 'The End of the Remake' specifically explores this deep fascination by looking to iconic artistic giants Marcel Duchamp, Alfred Hitchcock and Michelangelo Antonioni and reinterpreting them, underscoring the impending doom inherent in their works that he identifies with. Draeger utilizes this aspect of their works and remakes or remixes them to attach them more closely to his notion of how pop culture, modernism, science, politics and technical advancement lead to alienation, societal dread and disengagement.

In a reconstruction of Duchamp's 'Large Glass' and a deconstructed puzzle work depicting the mushroom cloud over Nagasaki, he implies that the advancements of modernism and technology paradoxically work simultaneously as coping mechanisms and twin propellers of breakage in society. Abstracted analysis in art and science have built a complex societal edifice too arcane and potentially too dreadful to contemplate directly, resulting in escapism from helplessness through disengagement, lurid entertainment, games, and the further deconstruction of philosophy.

In the smaller gallery, Draeger builds a psychedelic hippie dungeon containing the three videos of his new trilogy 'The End of the Remake Part 1-3' (2006-2008). In 'Hippie Movie', the Summer of Love is re-enacted by a hippie movement he created one year ago in Warsaw, 40 years too late: a utopic re-creation of total escape now lost to us.

Christoph Draeger's portents of doom have had a chilling simultaneity with events over the years. His video 'Crash' concerned with airplane crashes intermittently caught live by amateur video and Hollywood extravaganza was pulled from an exhibition at the Palm Beach ICA on September 11, 2001, while his show 'If You Lived here You would Be Dead Now' (an installation featuring a burned-out camping trailer), opened at Roebling Hall in Brooklyn on Sep 20th of the same year. Current events renew this sense of dread and awe of disasters beyond our control.

Draeger was born in Zurich and attended the School of Visual Arts, Luzern and Ecole Nat. Superior des Arts Visul de la Cambre, Brussels. He now lives and works in New York.

Cruz and Reyes Exhibition at San Francisco Art Institute

2008-10-29T18:34:00.000-07:00

Teddy Cruz, 'Radicalizing the Local: Sixty Miles of Transborder Urban Conflict,' 2008. Vinyl wallpaper. Courtesy of Estudio Teddy Cruz.

Conflict Resolution: Teddy Cruz and Pedro Reyes
San Francisco Art Institute
San Francisco Art Institute
Walter and McBean Galleries
800 Chestnut Street
San Francisco, CA 94133
800 345 SFAI / 415 749 4500
www.sfai.edu
Phone: +1 011 1 415 749 4550
Fax: +1 011 1 415 351 3516
Contact: Mary Ellyn Johnson
exhibitions@sfai.edu
www.sfai.edu/current

For the last two years, San Diego–based architect Teddy Cruz and Mexico City–based artist Pedro Reyes have together been deliberating on, among a host of other interconnected matters, the relation between design strategy and social transformation in the age of globalization. Notably appearing in conversation in the pages of the November 2007 issue of 'Modern Painter,' where they consider and actively invoke the power of nonrepresentational diagrammatic reasoning, Cruz and Reyes come together again, under the initiative of SFAI's Exhibitions and Public Programs, to repurpose their 'micropolicies' for transfiguring the socio-urban topography as resolution procedures, in particular, for the variously imbricated, ground-level conflicts obtaining in postinvasion Iraq.

Working neither from within nor from outside 'the system' (the latter being to them every bit as bourgeois as the former is to the self-styled subversive), Cruz and Reyes seek to engage the hands-on problematic of a war-torn or otherwise-blighted urban landscape in what they refer to, after Herbert Marcuse, as 'the mouth of the cobra'-that is, to engage it with critical proximity rather than distance. For instance, in no way endorsing the prevailing just-war doctrines promulgated by certain members of the US and EU intelligentsia, Cruz and Reyes nevertheless embrace the unsought but de facto opportunities for understanding conflict, mediation, and facilitation that have been brought about by the situation in Iraq. As with their collaborative ruminations on the alternative design trajectories made available in and by the Tijuana–San Diego border area (conventionally taken, from the planning and architectural perspective, as a promiscuous sprawling muddle), their reflections on how the war in Iraq was actually played out ('bottom up'), as opposed to how it was originally planned ('top down'), discover in the wake of calamity a palpable object lesson: conflict, and the dire wreckage of conflict, are, by their very nature, a base of operations for imaginative intervention and social and geopolitical negotiation-the kind of intervention and negotiation Cruz and Reyes mean both to explore and to instantiate through their collaborative project at SFAI.

Indeed, the swords-into-plowshares ethos that pervades Cruz and Reyes's thinking is expressly thematized in a number of the works and ventures they will be exhibiting or actualizing within the physical space of the Walter and McBean Galleries or beyond it. Reyes's call-to-action project 'Palas por pistolas' (which literally translates as 'shovels [in exchange] for handguns')-a campaign to collect, from the embattled citizens of Culiacan, Mexico, some 1,500 weapons to be refashioned into shovels for the planting of trees-will be reactivated within a Bay Area context. Analogously, Cruz's project in distributive justice as nonconformist cartography, 'McMansion Retrofitted,' is a proposal-presented through videos, photographs, drawings, models, and maps-to 'beat' an existing 8,000 square foot single-family suburban house into a mixed-use multifamily dwelling.

Consistent with its varied themes and methodologies-as well as with the curatorial strategies of SFAI's director of Exhibitions and Public Programs, Hou Hanru-Conflict Resolution is coordinated and presented at the intersection of two of the principal components of SFAI's Exhibitions and Public Programs. The first, New Models of Production, contextualizes artistic creations against a backdrop of economic, industrial, and technical production under globalization while also investigating the concept of competing versions of modernity and the tension between developed and 'underdeveloped' worlds. The second, Acting Out in the City, utilizes the galleries and spaces of the SFAI campus as points of departure for large-scale projects of urban intervention, conspicuously injecting artistic productions and awareness into public spaces.

Exhibition on view:
17 October through 13 December 2008

Ideas for Iraq panel discussions:

'Conflict Resolution for Iraq':
Friday, 17 October 2008 at 7:30 p.m.

'Design Strategies and Conflict Resolution':
Wednesday, 19 November 2008 at 7:30 p.m.

Artist Bios

Born in Guatemala, Teddy Cruz is a San Diego–based architect who researches and analyzes the urban transformation occurring on both sides of the US-Mexico border. Inspired by the dynamics of geopolitical, economic, and demographic division and negotiation, he studies the relation between architectural sites and the impacts they have on the production of urban spaces. He has also developed a series of critical strategies for innovative urban visions, especially as prompted by studies of the Mexican population. Cruz and his team at Estudio Teddy Cruz have proposed and realized architectural projects that emphasize social mobilization, the recycling of existing materials and conditions, and sustainability. His promotion of 'informal' and alternative visions and strategies for city growth have been presented in such large-scale events as the 10th Istanbul Biennial and the 2008 Venice Biennial's 11th International Architecture Exhibition. His work was also included in World Factory, a group exhibition that opened in January 2007 at SFAI's Walter and McBean Galleries. In April 2007, Cruz also lectured at SFAI as a Visiting Artist and Scholar.

Born in Mexico City, where he lives, Pedro Reyes works in a number of mediums, including installation, design, performance, and video-all with a view to social activism. Inspired by various 'alternative' non-Western strategies for the production of lifestyles, urban spaces, everyday objects, and social relationships-strategies he finds to be more original and diverse than the dominant hegemonic models of the West-he considers his work a personal system for reinventing everyday environments and social relationships, extending the reach of limited natural (and artificial) resources as well as enhancing social solidarity. He has exhibited at such venues as the South London Gallery, the Museum of Contemporary Art in Chicago, El Museo Nacional Centro de Arte Reina Sofia in Madrid, Yvon Lambert Gallery in both NYC and Paris, P.S.1 Contemporary Art Center (MoMA) in NYC, Kunst-Werke Institute for Contemporary Art in Berlin, the Seattle Art Museum in Washington (USA), and the Carpenter Center for the Visual Arts at Harvard University in Cambridge (Massachusetts, USA). In November 2007, Reyes lectured at SFAI as a Visiting Artist and Scholar.

SFAI's exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts and the Grants for the Arts/San Francisco Hotel Tax Fund. Additional support and assistance for Conflict Resolution have been provided by AIA San Francisco, the Bureau of Urban Forestry in San Francisco's Department of Public Works, the Consulate General of Mexico in San Francisco, Friends of the Urban Forest (San Francisco), PG&E, the San Francisco Mayor's Office of Protocol, and SMWM. Additionally, Conflict Resolution is cosponsored by SFAI's Design and Technology department as part of its Fall 2008 Design and Technology Salon and by SFAI's City Studio Projects.

2nd Athens Biennale 2009 HEAVEN

2008-10-29T18:31:00.000-07:00

15th June – 4th October 2009
Palaio Faliro Beach, Athens
Phone: +30 210 52 32 222
Fax: +30 210 52 32 202
contact@athensbiennial.org
www.athensbiennial.org

2nd Athens Biennale 2009 HEAVEN
Curators: Dimitris Papaioannou & Zafos Xagoraris, Chus Martínez, Cay Sophie Rabinowitz, Nadja Argyropoulou, Christopher Marinos, Diana Baldon
Artistic Directors: XYZ
Exhibition Design: Andreas Angelidakis

The 2nd Athens Biennale 2009 will take place from June 15th to October 4th 2009. The exhibitions and events of the biennale will unfold along the coastline of Palaio Faliro, at a short distance from the city centre, the public beach called 'Eden', in various buildings and public spaces.

The 2nd Athens Biennale 2009 HEAVEN is designed as a multi-faceted contemporary art event, comprising of several exhibitions, actions, music and theatre performances, film screenings, symposia, etc, with the participation of more than 100 international artists.

Artistic directors XYZ, who curated the 1st Athens Biennale 2007, have invited an eclectic group of curators to contemplate the subject of Heaven. Heaven as a wide topic touches upon notions such as lost innocence, nature and ecology, utopias and ideal communities. From this premise, a creative dialogue begins, which will reflect upon the theme itself as well as the methodology surrounding large-scale periodical exhibitions. The diverse approaches of the 2nd Athens Biennale 2009 team of curators will retain their autonomy, while interconnecting creatively and claiming a narrative cohesion which will be further reflected in the exhibition design, by architect Andreas Angelidakis. The multiple visual art and performative interventions in the public spaces will be curated by Dimitris Papaioannou and Zafos Xagoraris. Exhibitions, installations, public interventions, screening programmes, and symposia, will be curated by Nadja Argyropoulou, Diana Baldon, Christopher Marinos, Chus Martínez, and Cay Sophie Rabinowitz.

Andreas Angelidakis is an architect who has lectured in Europe, US and Asia. His work has been exhibited in Centre d' art contemporain, Grenoble; MU Foundation, Eindhoven; Fargfabriken, Stockholm; National Museum of Contemporary Art, Athens; Sao Paolo Biennial (2002), Venice Biennale (2000), et al. In 2008 Damdi Architectural publishing in Korea published the first monograph on his work, entitled Internet Suburbia.

Nadja Argyropoulou is an independent curator. From 1993 to 2001 she was the Director of Cultural Programming and Public Affairs of the Hellenic American Union in Athens. She was assistant curator for the Greek Pavilion at the 2005 and 2007 Venice Biennales. Recently she curated What remains is future (Patras European Capital of Culture, 2006), and I Syghroni Elliniki Skini, (Art Athina, 2007). Since 2007 she collaborates with the DESTE Foundation.

Diana Baldon is a curator and writer. Recently she curated Left Pop (Moscow Biennale 2007) and Marietjca Potrc/Kyong Park (Cubitt Gallery, London). In 2007-08 she was Curator in Residence at the Academy of Fine Arts, Vienna. She regularly contributes to international art periodicals and critical readers. She is Associate Curator of the group exhibition A Question of Evidence, opening in November 2008 at Thyssen-Bornemisza Art Contemporary.

Christopher Marinos is a writer and curator. He is the founder and co-editor of the online art magazine kaput. In 2005-06, he worked as an art historian/researcher for the National Museum of Contemporary Art in Athens. He is the Athens correspondent for Flash Art International and Modern Painters, and a founding member of the Reading Group.

Chus Martínez is the chief curator of MACBA and the director of Frankfurter Kunstverein. From 2002 to 2005 she was the artistic director of Sala Rekalde. She has curated numerous exhibitions, among which The Invisible Insurrection of a Million Minds (with Lars Bang Larsen and Carles Guerra, 2005). She was commissioner of the Cyprus Pavilion for the 51st Venice Biennale (2005).

Dimitris Papaioannou has worked as a painter, performer, comic book creator, choreographer and stage director. He founded Edafos Dance Theatre and created all the company's works. He conceived and directed the Opening and Closing Ceremonies of the Athens 2004 Olympic Games. In 2006 he created the stage production '2'.

Cay Sophie Rabinowitz is a regular contributor to periodicals, such as Art in America, Art Papers, Texte zur Kunst and Boiler, as well as the Financial Times and Frankfurter Allgemeine Zeitung. Since 2001 she has been on the faculty at Parsons, the New School of Design. From 1999 until 2007 she was Senior Editor of Parkett, and until recently she served as Artistic Director for Art Basel.

Zafos Xagoraris is an artist who teaches at the Athens School of Fine Arts and was the co-curator of the Greek Pavilion at the Venice Architecture Biennale (2004). Recent shows include Distant Sounds, Manifesta 7, Rovereto (2008); Bienal Fin del Mundo, the 1st Biennial of the End of the World, Ushuaia (2007); How to leave together, 27th Sao Paolo Biennial (2006).

XYZ are Xenia Kalpaktsoglou, Poka-Yio and Augustine Zenakos, a curatorial trio that founded the Athens Biennale in 2005. They curated the 1st Athens Biennale 2007 DESTROY ATHENS.

The 2nd Athens Biennale 2009 Preview Days are June 13th & 14th 2009.

Under the aegis of the Hellenic Ministry of Culture, the Municipality of Palaio Faliro and the Municipality of Kallithea | With the support of the Friends of the Athens Biennale www.athensbiennial.org

Stefan Brüggemann's exhibition at the Frac Bourgogne

2008-10-29T18:24:00.000-07:00

© Stefan Brüggemann: Untitled, 2007 - glass, mirror, 86 x 80 in, Ed. 1/1

Stefan Brüggemann & new publications
Frac Bourgogne
49 Rue de Longvic
F-21000 Dijon
Phone: 33 [0]3 80 67 18 18
Fax: 33 [0]3 80 66 33 29
Contact: Siloé Pétillat, communications manager
infos@frac-bourgogne.org
www.frac-bourgogne.org

October 11th 2008 - January 10th 2009
open from Monday to Saturday from 2-6 pm, except public holidays
For his first solo show in France, Stefan Brüggemann (born in 1975 in Mexico City) has brought together a selection of works which subversively upset the rules of the art game, in particular, here, those governing representation and its content.

Stefan Brüggemann's proposition is as paradoxical as it is provocative, in the way he plays with artistic codes, the better to reduce them to nothing. Art history tumbles into oblivion in favour of the surface of images. For example, he uses typography, but in order to deny the artistical reference thereto, typography also making reference to communication methods. The nihilist posture comes across in an often seductive way, ensnaring the spectator in his/her own art culture. He describes his praxis as TWISTED CONCEPTUAL POP, an association that is nothing if not paradoxical.

The exhibition is constructed in three areas. A small entrance room is painted all in black, with, on the floor, a pile of posters with white wording printed on a similarly black ground-references to minimal sculpture and political art which Stefan Brüggemann one more activates the better to underscore the uselessness of all political ambition in art, along with all content-related dimensions.

Two rooms echo each other on either side. Five Reversed Mirrors, facing the wall, are shown in one room, and five sentences made with black adhesive lettering are written on the walls of the other room. The sentences are very representative of what he has been developing since the mid-1990s: to deny today's norm of the 'all-communicational', where everyone is summoned to explain, comment, and elucidate, until the cows come home. Stefan Brüggemann sets up a language of refusal, often negative postulates affirming void, absence and impossibility. The texts he has chosen here are provocative in what they proclaim.

The five mirrors turned towards the wall echo the five texts, as if in the negative, and assert the refusal of their function. Nothing can be reflected in them. No images. No ideas. By reversing the mirror, Stefan Brüggemann denies this relation between art and reality, and art and the viewer. The mirror also shows the simultaneity between work and viewer, present value, and value of the conscious presence of the world, which Stefan Brüggemann here seems to empty out: FROM ANYTHING TO ANYTHING IN NO TIME, he writes on the exhibition wall. As part of real, the Internet is a work source for the artist, so its time-related reality can be summoned up. Because no information on it can ever really be deleted, all the information on it is mixed with an almost indeterminate time-frame.

As a perfect reflection of a world where tomorrows no longer lay any claim to sing, the work seriously delivers the truths of the day, fuelled by the works of conceptual artists, pursuing the forms of negativism which marked 20th century art, forms involving the end of myths and beliefs, including those of creation. The works refer at times brutally to the society of disappointment that is ours, setting the individual face to face with him/herself in a world with no geographical or temporal landmarks, a world that is globalized and purposeless.

Claire Legrand, head of public services
Translated by Simon Pleasance
The Stefan Brüggemann show (curator: Eva González-Sancho) is a joint project put on by the Frac Bourgogne (Dijon – FR) and the Kunsthalle Bern (Bern – CH).
The Frac Bourgogne is supported by the Ministry of Culture and Communication (DRAC: Regional Direction of Cultural Affairs of Burgundy), the Burgundy Regional Council, the General Council of Côte-d'Or.
The Frac Bourgogne is member of PLATFORM.
open from Monday to Saturday from 2-6 pm, except public holidays
Guided tour - Saturday November 22th 2008 - 3 pm at the Frac - free entry

Now is the Time: Art & Theory in the 21st Century

2008-10-29T18:20:00.000-07:00

New lecture series Now is the Time: Art & Theory in the 21st Century
Organised by Stedelijk Museum Amsterdam, University of Amsterdam, W139, SMBA and Metropolis M
Auditorium of the University of Amsterdam
(Oude Lutherse Kerk)
Singel 411, Amsterdam
The Netherlands
info@nowisthetime.nl
www.nowisthetime.nl

This coming season the organisers of the successful lecture series and publication Right About Now: Art & Theory since the 1990s are presenting a new series of lectures and debates entitled Now is the Time: Art & Theory in the 21st Century.

The attack on the World Trade Center spelled closure for the 20th century. There was no going back; the world had been catapulted into a new millennium. But what developments have taken place in the visual arts since this violent start? And how has art theory interpreted and contextualised these developments?

Across seven evenings national and international art historians, curators and critics including W.J.T. Mitchell, Terry Eagleton, Boris Groys, Kaja Silverman, Hou Hanru, Ruth Noack, Julian Stallabrass, Rick Poynor and Jőrg Heiser will reflect on issues and questions such as: What is the impact of 9/11? How will advancing globalisation affect the art world and the arts? What is the polarizing effect of religion? These themes, defined by social and political developments, are juxtaposed with art related subjects like the search for a new canon, the return of Romanticism, the ideals of design and the status of the artwork in what is referred to as the post-medium condition.

The programme of Now is the Time is centred around seven urgent social and art-specific themes that together describe the total scope and complexity of the arena in which the arts of the new millennium are situated: 9/11, Globalisation, Romanticism, New Canon, Media, Belief and Design.

1st LECTURE: Friday 3 October 2008
MEDIA
With Kaja Silverman (VS) and Laura Marks (CAN)

2nd LECTURE: Tuesday 28 October 2008
9/11
With W.J.T. Mitchell (VS) and Sean Snyder (VS/DU)

3rd LECTURE: Tuesday 11 November 2008
GLOBALISATION
With Julian Stallabrass (GB) en Hou Hanru (China/F/VS)

4th LECTURE: Thursday 27 November 2008
DESIGN
With Rick Poynor (GB) and Camiel van Winkel (NL)

5th LECTURE: Thursday 11 December 2008
NEW CANON
With Robert Nelson (VS) and Ruth Noack (A)

6th LECTURE: Thursday 15 January 2009
BELIEF
With Terry Eagleton (GB/Irl) and Boris Groys (DU)

7th LECTURE: Thursday 29 January 2009
ROMANTICISM
With Jos de Mul (NL) and Jőrg Heiser (DU)

PRACTICAL INFO
The lectures are held in the Auditorium of the University of Amsterdam (Oude Lutherse Kerk) and start at 8 p.m.

For the full programme, reservations and additional information, please visit www.nowisthetime.nl.

Editorial Board of Now is the Time:
Jelle Bouwhuis (SMBA)
Ingrid Commandeur and Domeniek Ruyters (METROPOLIS M)
Gijs Frieling (W139)
Margriet Schavemaker (UvA)
Christel Vesters (independent art critic /curator)

Now is the Time: Art & Theory in the 21st Century is made possible thanks to support of the Mondriaan Foundation and the Amsterdams Fonds voor de Kunst.

HTEIN LIN exhibition at Museo del Carcere 'Le Nuove'

2008-10-29T18:15:00.000-07:00

Htein Lin
Man in the Moon
performance, 2006

Htein Lin. Serie N. 00235 curated by Karin Gavassa, Lorena Tadorni
Museo del Carcere 'Le Nuove'
Via Paolo Borsellino 1
Torino Italy
Phone: +39.011.3090115
ufficiostampa.passepartout@gmail.com
www.museolenuove.it

Opening: 2008 October 24th, 6 p.m.
October 25th – November 5th, 2008
Monday – Sunday, guided tour at 3 p.m.
Second and fourth Sunday of each month opening at 9 a.m.

The exhibition gathers works made by the artist under his detention as political prisoner when he was charged – falsely - with planning opposition protests and sentenced to seven years. In this period, the act of performing and painting becomes strategies of survival for the artist who creates a corpus of over 300 pictures and 1.000 illustrations. These works are an unique and important testimony of the life in the Myanmar's jails (ex Burma), a country ruled by an authoritarian and repressive regime.

To keep on painting while in jail, Htein Lin uses any means as varnishes smuggled by the watches, syringes instead of paintbrushes, lighters, serving dishes, pieces of gauze, soap's blocks, getting canvases from tattered uniforms. Htein Lin opens the door to the artistic perfomance in Burma, from 1996 with 'The Plastic Age' and 'Guitarist', street performance in the midtown of Yangon. These works, showed for the first time in Italy, are a selection from N.00235 series, which is the prisoner number given to Htein Lin by the International Committee of the Red Cross.

The artist will take part to a public panel on October 24th (11 a.m.) at the Museum of Resistance (Museo Diffuso della Resistenza, della Deportazione, della Guerra, dei Diritti e della Libertà), Quartieri Militari, Corso Valdocco, Torino. The curators and Peter Popham, correspondent for 'The Independent', will attend.

Htein Lin. Serie N. 00235 is an event of Associazione Culturale Passepartout, with the support of Regione Piemonte and the cooperation of Museo del Carcere 'Le Nuove'. Educational project by Elena Ragusa and Luisa Romeo.

The exhibition is part of '2008: un anno per i diritti', a series of events organized by Museo Diffuso della Resistenza, della Deportazione, della Guerra, dei Diritti e della Libertà, Torino.

A special thank to Daniela Bezzi, journalist, Peter Popham, Italian correspondent for 'The Independent' and curator of the website freeaungsansuukyi.org (media partner), and Vicky Bowman.

THE HOUSE at NYEHAUS :: RothStauffenberg

2008-10-29T18:12:00.000-07:00

© RothStauffenberg
Nov 6th – December 20, 2008 :: RothStauffenberg

15 Gramercy Park South
New York. NY 10003
T. (212) 995-1785
Phone: (212) 995 - 1785
Fax: (212) 473 - 4994
Contact: Adina Popescu
info@nyehaus.com
nyehaus.com
Opening reception November 6th from 7-9PM
On Frozen Time and Differing Spaces

curated by Adina Popescu

It is not about YOU, it is about THEM In their installation works the Berlin based artist duo RothStauffenberg recreate places that were at some point inhabited and enlivened by real experiences. Like abandoned stages, frozen in time, the physical memory of a long lost architecture or cartography is being rebuilt. RothStauffenberg always create places that could be everywhere and nowhere, and in this sense are reminiscent of Resnais' L'année dernière à Marienbad: A place consisting of at least two spaces.

The experience of space, just as in music, is perhaps more forcefully remembered through one's sense of orientation, namely that of a body which once moved through those rooms: In RothStauffenberg's Installations the lights that flicker on and off, music, sound, and reverberations all help us to determine distance in the darkness. It is an experience that cannot be immediately shared, as the viewer is isolated from others. The spaces created in their works are often restricted and one is encouraged to move about in the rooms in order to sense the whole. They evoke the feeling of entering a cinematic space; as if one was almost able to touch things, but will never make contact. And yet the logic of these constructed spaces gives way to a narration which slowly starts taking shape: Perhaps there is an obscene extraterrestrial glass object, of which one can only make out its vague spatial coordinates, and this object has forced itself into our story. However, these objects are nothing more than props and 'MacGuffins', as Hitchcock called them, that drive the narrative forward to lead us to this singular occurrence, one which always escapes us in the long run. 'What happened on New Years Eve 1980/81?' The Grande Hotel in Beira was built by the Portuguese during the period of their colonial rule of Mozambique. With 370 rooms, an Olympic pool and a heliport, it was the biggest hotel on the continent and was called the 'Pride of Africa'. After closing in the early sixties, its existence became closely linked to the history of Mozambique as many hidden, yet politically decisive events took place in its vast halls and corridors. Since the early 1980s, the hotel has progressively been taken over by illegal squatters and has now swelled up to 3,000 people who are forming, in a foucaultian sense, a micro-society: a resort as a nation.

The last official event that took place in the Grande Hotel was a New Years Eve party in 1980/81. In 2007 RothStauffenberg brought various masks and Mozart's 'Cosi Fan Tutte' to the Grande Hotel, with the aim of exchanging masks with residents living there and to celebrate with a masquerade ball. But this is just the beginning of a story- like any other story. From this ball, an ongoing narrative began to unfold.

The main installation in the former library recreates a 'location' which possibly refers to the last event officially celebrated at the Grande Hotel in 1980/81. 'What happened on New Years Eve 1980/81?' represents an attempt to recreate the notion of an event that escapes us. This notion refers to this always-already-missing part in the puzzle of the constant re-writing of history- a missing piece which might never be found, and which could link the telling of a histories in other possible ways.

RothStauffenberg live and work in Berlin. Their last show in the US was a solo exhibition at the Indianapolis Museum of Art in 2007. Their most recent presentation in Europe was a faux-indoor swimming pool at Basel Art Unlimited 2008. Since 2007 RothStauffenberg have been working on their first feature film entitled 'The Kingdom of Mozartbique.' RothStauffenberg is represented by Gallery Esther Schipper, Berlin. Their book 'Based on a True Story' was published last month by Edition Patrick Frey.

GEO GOO (Info Park) by JODI at iMAL, Brussels

2008-10-29T18:08:00.000-07:00

GEO GOO (Info Park)
IMAL, Center for Digital Cultures and Technology
30 Quai des Charbonnages/Koolmijnenkaai, 1080 Brussels
Phone: +3224103093
Contact: Yves Bernard
yb@imal.org
www.imal.org

18 OCT - 09 NOV 2008
Tuesday, Wednesday, Friday : 14:00 - 19:00
Thursday: 14:00 - 20:30
Saturday, Sunday: 13:00 - 19:00
Closed on Monday.

JODI (www.jodi.org), the Belgian-Dutch duo pioneer of Net Art, explores the relations between the world we build through the Internet and the one based on our past mental and physical maps. Services such as GoogleMaps have changed radically our worldview by making the Globe accessible as a commercial multi-user surface. Mapping these online geometrical constructs to reality and vice versa, overlaying their figures as jogging paths, The 'Parc Royal' of Brussels (Warande Park) becomes an INFO Park revealing symbols and mysteries of the capitale of Belgium and Europe, amplifying or deconstructing them through an intricate web of data and associations.

For centuries, geometry has been overloaded with symbols, starting from pure mathematical objects to esoteric and mystic signs, hiding in complex figures meanings to be revealed to the gurus, the persons in the know or the psychedelic explorers. Geometrical shapes and lines were drawn on the territories, the cities, the architectures and the monuments or the crop fields. The Royal Parc of Brussels is a well known example with its triangle + circle = Masonic compass. JODI is connecting this long tradition of tracing geometry on the ground with the new geometries one can draw on the surface of the Earth as proposed by online tools such as Google Maps and Google Earth. Of course, the duo of artists draws in a pure JODI style: hectic and free traces resulting from extreme coding and hacking. As they always did since their first web pages in 1995, JODI uses the codes of Internet (e.g. html) and the codes inside the computers (binary) as their artistic material. They paved the way for Net Art and renewed Computer Arts as much as Nam June Paik opened new fields for video art. But the work of JODI plays also with the processes of coding/decoding, of deciphering cryptic data in a chaotic surface. Messages are hidden, only visible to the ones who will dare to dig into the code (see http://wwwwwwwww.jodi.org/). In the exhibition GEOGOO (Info Park), many things can be constructed into meanings, it just depends on you and your capacity to disconnect and reconnect: the radial glimpses of the sunshines in the video, the 3 DJ turntables laid on a perfect triangle at the visitor's disposal (backmasking!), the jogging walks through Brussels roundabouts. And if you can not reconfigure, just contemplate, it is beautifully rewarding.

550.8446, 4.3637 Brussels park.

The largest urban public park in the center of Brussels is surrounded by the Royal Palace of Brussels, Fortis bank, Palais des Beaux-arts, the Belgian parliament and the U.S.A. embassy. In the summer, free parties are organized every weekend in the heart of this park.The place is served by Park metro station on line 1A/1B of the Brussels metro.Its main paths and fountain are laid out in the form of Masonic symbols (in particular the compass).

More on http://www.imal.org/GEOGOO
JODI's site : http://geogoo.net

About JODI

Jodi's work (www.jodi.org), the pioneer belgian/dutch duo of Net Art (Joan Heemskerke/NL - Dirk Paesmans/BE), has been included in many international exhibitions and festivals: Documenta X in 1997, Rotterdam (DEAF98), ZKM (net_condition, 2000), Tokyo (2001, 2002), Madrid (Arco/De-game, 2001), Berlin (Transmediale: 1997, 2000, 2002, 2006), New York (1997, 2003, Guggenheim/2004, 2005, 2007), Chicago (ISEA97), Plug-In (Basle, 2002), Paris (Centre Pompidou/2003, 2004, 2006), SFMOMA (San Francisco, 2004), Montevideo (Amsterdam, 2006), or more recently at the Stedelijk Museum (Amsterdam) in the 'Deep Screen - Art in Digital Culture Proposal for Municipal Art Acquisitions 2008'. In 1999, they received a Webby Award in the Arts category, proclaiming in their compulsory five-word acceptance speech, 'Ugly corporate sons of bitches!'

Excerpt from JODI's biography by Domenico Quaranta in Holy Fire, art of the digital age, exhibition catalogue, 2008.

GOOD TEETH - Beagles & Ramsay

2008-10-29T18:05:00.000-07:00

Glasgow Sculpture Studios
145 Kelvinhaugh Street
Glasgow G3 8PX
Phone: +44 (0)141 204 1740
Fax: +44 (0)141 221 3801
Contact: Amy Sales
amy@glasgowsculpturestudios.org
www.glasgowsculpturestudios.org

Preview: Saturday 25 October, 2008
Exhibition Runs: 30 October - 19 December 2008
Gallery Open Thursday-Saturday 12-5pm and by appointment
Glasgow Sculpture Studios launches a new gallery with Beagles & Ramsay's GOOD TEETH

'The world belongs to those with teeth.'
Pasolini's 'Accatone' (1959)

GOOD TEETH is a new, large-scale sculptural installation created by Beagles & Ramsay during their three-month Production Residency at GSS and marks the beginning of the new exhibition programme at GSS.

Two key interweaving currents of interest drive the work of Beagles & Ramsay: the reoccurring use of fictionalised self-portraiture and, in broad terms, a critical examination of aspects of contemporary consumer culture. To date their presence within the work has largely been a performed presence - using doppelgangers as a means of speaking in alternate voices or drawing upon multiple personae. Inhabiting these shifting personae has allowed them the conceptual space to explore aspects of contemporary culture, such as consumerism, political disenfranchisement, and the cult of celebrity - without the restrictions of a singular, authoritative voice.

The duo's practice also owes a great deal to earlier, pre-modernist traditions within art, specifically the counter tradition of the carnivalesque. 'Artists, from Bruegel, Tiepolo and Goya, to more acerbic satirists such as Daumier and Hogarth (as well as novelists such as Swift, Rabelais and Chaucer) have had a profound influence on our work.' Say the artists, 'An influential aspect of these artists work has been their ability to synthesise their visual aesthetic with political allegories and satirical content.'

Beagles & Ramsay have worked together collaboratively since 1996. Based in Glasgow they have exhibited nationally and internationally at venues such as the Migros Museum, Zurich, PS1 MoMA, New York, the ICA, London, Tramway, Glasgow and CAPC Museum, Portugal and are developing new work for an exhibition in Melbourne in 2009.

In 2003 Beagles & Ramsay were selected to take part in Zenomap, Scotland's first presentation at the Venice Biennale. Recent projects and exhibitions include a new edition of their curatorial publication Uncle Chop Chop launched as part of the Glasgow International Festival 2008, Art Futures at the Bloomberg Space, London and the touring exhibition Among the Living (ICA, London, MIMA, Middlesborough, Milton Keynes Gallery and Chapter Cardiff), 2007. Their work has been presented in numerous publications including Scotland and Venice 2003 - 2007, Divided Selves - The Self-Portrait in Scottish Art 17th Century to the present, Beagles & Ramsay, Tramway publication, 2006 and When Humour Becomes Painful, 2005.

www.beaglesramsay.co.uk

In conjunction with their exhibition, Beagles & Ramsay will curate a film programme at GSS, weekly throughout the month of November. For full details visit our website www.glasgowsculpturestudios.org

The 49th October Salon, Belgrade

2008-10-29T18:02:00.000-07:00

Dan Perjovsci, drawing, 2008
Courtesy of the artist

Artist-Citizen / Contextual artistic practices
Cultural Centre of Belgrade
Knez Mihailova 6/I
11 000 Belgrade Serbia
Phone: +381 11 2622 757
Fax: +381 11 2623 853
Contact: Aleksandra Estela Bjelica Mladenovic
aleksandra.estela@kcb.org.yu
www.oktobarskisalon.org

Belgrade, September 26 – November 9 2008
The 49th October Salon
Artist-Citizen
Contextual artistic practices
Belgrade, September 26 – November 9 2008

Curated by: Bojana Pejić
Assistant curators: Vida Knežević and Ivana Marjanović
Exhibition design: Slobodan Danko Selinkić, architect

Founder and patron the City of Belgrade
Organised by the Cultural Centre of Belgrade www.kcb.org.yu
With the support of the Ministry of Culture of the Republic of Serbia

Ana Adamović, Antea Arizanović, Reli Avrahami, Maja Bajević, Yael Bartana, Lutz Becker, Cristiano Berti, Pauline Boudry / Renate Lorenz, Dan Calin, Chto delat?, DAH teatar, Danica Dakić, Braco Dimitrijević, Lina Dokuzović, Andrej Đerković, Eva Filova, Kendell Geers, Girls on Horses, Kaspars Goba, Ion Grigorescu, Živko Grozdanić, Igor Grubić, Marina Gržinić / Aina Šmid, Driton Hajredini, h.arta, Ana Hoffner, International strike of artists, Fitore Isufi Koja, Sanja Iveković, Vladan Jeremić, Šejla Kamerić, Gülsün Karamustafa, Sigalit Landau, Wei Liu, Milovan Destil Marković, Nikoleta Marković, Dalibor Martinis, Goranka Matić, Mladen Miljanović, Monument Group, Damir Nikšić, New Collectivism, Tanja Ostojić, Vesna Pavlović, Dan Perjovschi, Tadej Pogačar, Darinka Pop-Mitić, Marta Popivoda, Zoran Popović, Danilo Prnjat, Nurhan Qehaja, Queer Belgrade Collective, Jelena Radić / Eduard Freudmann, Oliver Ressler, Pipilotti Rist, Martha Rosler, Katya Sander, Judith Siegmund, Ivana Smiljanić, Sašo Stanojkoviќ, Hito Steyerl, Mladen Stilinović, Branimir Stojanović, Saša Stojanović, Balint Szomabthy, Škart, Ilija Šoškić, Frank Thiel, Raša Todosijević, Jelena Tomašević, Milica Tomić, Ranko Travanj, Goran Trbuljak, Egbert Troggemann, Ulay, Gergelj Urkom, Valie Export, Katarina Zdjelar, Artur Zmijewski

The 49th October Salon presents those artistic practices that have been called art-in-context for a number of decades. The exhibition Artist-Citizen does not intend to proclaim contextual art, which has been known since the 1970's (one of its forms has been institutional critique); instead, it will try to map the artistic and theoretical positions that question the notion of the autonomy of art in today's democratic societies, where, irrespective of whether those are Western democracies that have existed over a long historical period or new post-Communist democracies, the existence and the activities of civil society are not taken for granted, but constitute an active work-in-progress performed day by day.

The fifth international October Salon presents artistic and theoretical positions that visualise, that is, thematise those aspects of 'the given context' that are constructed as invisible in the public space of democratic (and neoliberal) environments, such as the issues of privatisation, unemployment, refugees, homelessness, sex work, trafficking in women, human rights of minority groups, immigration, the surveillance society, censorship, current reinvention of religion, anarchism etc., or have been identified as belonging not to the public but the private sphere (such as violence against women or children, for example).

The 49th October Salon is held in a number of exhibition venues. What is exhibited at the May 25th Museum are works by artists who, in some cases, are clearly feminist-oriented; institutional critique of the 1970's; ideological critique formulated in the period of state socialism and/or after it. At the Cultural Centre of Belgrade the topic is sexual work and its various forms; the works exhibited at the 'Artget' Gallery thematise queer positions. The works exhibited at the Legacy House examine the policies of collective memory and collective oblivion, nationalist ideology and religion. The Public Bath 'Danube' is a venue intended for works dealing with capital, capitalism, globalisation, poverty, emigration, the EU policy, the effects of mass culture/media, etc.

The purpose of this exhibition is not to offer any kind of 'message' to the general and the professional public; still, this exhibition does have a motto, and an interrogative one at that:

Do we need art to tell us what we do not want to know?

The venues of the 49th October Salon

The May 25th Museum – the Museum of History of Yugoslavia, Botićeva 6
The Cultural Centre of Belgrade / The Fine Arts Gallery, Knez Mihailova 6 & The Artget Gallery, Republic Square 5/I
The Legacy House, Knez Mihailova 46
The Danube Public Bath, Cara Dušana 45
The Context Gallery – The Cultural Centre Stari grad, Kapetan Mišina 6a
///open 12.00 – 20:00, Mon closed///
The Graphic Collective Gallery, Obilićev venac 27
///open 11:00 – 20:00 on weekdays, Sat 10:00 – 16:00, Sun closed ///
The Jewish Municipality Belgrade, Kralja Petra 71а, 2nd floor
Rectorate of Belgrade University, Studentski trg 1
The Belgrade Psychoanalytical Society, Smederevska 9a
DAH Theatre, Marulićeva 8

More information www.oktobarskisalon.org

Disco Inferno 2008

2008-10-29T17:57:00.000-07:00

Christoph Steinmeyer
Disco Inferno, 2008
silver mirrored plexiglass on rigid PVC
18 x 20 x 15 cm, 7 x 8 x 6 inches
Edition of 660 plus 6 AP
www.discoinfernoedition.com

Christoph Steinmeyer_Disco Inferno Presentation on Friday October 31, 2008
Galerie Michael Janssen
Galerie Michael Janssen
Rudi-Dutschke-Strasse 26
(formerly Kochstrasse 60)
10969 Berlin Germany
Phone: +49 (0)30 - 25 800 850
Fax: +49 (0)30 - 25 291 592
berlin@galeriemichaeljanssen.de
www.discoinfernoedition.com

Disco Inferno

Hanging from its chain, Christoph Steinmeyer's Disco Inferno slowly turns, glittering darkly. Casting a thousand points of light around a dimmed room, it appears at first glance a mirror ball, but, spinning, it reveals itself to be a grinning death's head, a replica of a human skull, meticulously tiled with countless squares of mirror. Bedazzled and bedazzling, it exerts a sinister fascination.

The skull has served as a memento mori from time immemorial. A reminder of the fleeting glories of the world and one's inevitable demise, it represents the ultimate symbol of vanitas, urging the pursuit of salvation amidst tabletops of drooping lowers and overripe fruit. The skull has adorned tombstones and ossuaries; it marks the province of wizards and hermit monks, and, more recently, of Goth kids and metal bands. Of late, its mortuary and foreboding perfume having evaporated entirely, it entered the innocuous, leveling realm of popular culture, appearing everywhere, from patterns on baby togs to Damien Hirst's diamond encrusted objet d'art (whisked away to a vault after its presentation, presumably, like the titular treasure at the end of Raiders of the Lost Ark, never to be seen again). Yet Disco Inferno sparkles balefully overhead, its conflation of the funereal to the hedonistic, death to disco, implying the inextricable association of the two, as if they were the opposing sides of a coin. Et in Arcadia ego.

Steinmeyer first created Disco Inferno in 2001 and over the last seven years, he developed differnt variations in sizeshas and color schemes. His latest version, editioned in a tongue-in-cheek number of 666, is once again human-sized and silver, paved this time in mirror squares with beveled edges that multiply the glints and gleams sloughing off the surface. The sculptures' proliferation suggests that their patently simple yet inexplicably effective fusion of mindless pleasure and implacable death continues to resonate. Steinmeyer's is an idea whose time has come and not yet gone, despite the ubiquity of the skull in art and fashion, despite the cliché of the disco ball, despite everything. And still the mirrored skull, slowly turning on its chain, glimmers in the dark.

Joseph R. Wolin October 2008

Elizabeth Jobim: Endless Lines

2008-10-03T02:36:00.000-07:00

Elizabeth Jobim: Endless Lines
Co-curated by Claudia Calirman and Susan Hoeltzel

Elizabeth Jobim: Endless Lines
Lehman College Art Gallery
Bedford Park Boulevard West • Bronx, N.Y. 10468-1589
Phone: 011-718-960-8731
Fax: 011-718-960-6991
Contact: susan@lehman.cuny.edu
www.lehman.edu/gallery

From October 7 to December 15, 2008

Reception: Tuesday, Oct. 7, 2008, 6-7:30pm
Lehman College Art Gallery is pleased to present the first major exhibition of the work of Elizabeth Jobim in the United States. Jobim's installation consists of painted canvases, placed side by side, using Lehman College Art Gallery itself as an integral part of the work. Her lines blend from one panel into the next in a row of square and rectangular surfaces that cover the walls of the gallery. Little by little they engulf their surroundings to create an architectural environment and envelop the viewer in the experience.

The daughter of Antonio Carlos Jobim--the father of Brazilian Bossa Nova--Elizabeth Jobim is influenced by music and its connections to time, intervals, and composition. Her work creates a play of continuity and disruption, like musical notes arranged on time. They stumble and stutter, lose and find themselves over and over again. In this endless game with no specific beginning or clear end, the lines keep on dancing and vibrating in blue at the pace of their own cadence.

Jobim's lines are confident and uncertain at the same time. They can be straight and contorted, firm and staggering, thick and thin, flat and volumetric. It is as though they are overcoming obstacles in trying to find their way into the space. Through the use of ultramarine blue paint applied with rollers--like the work of a wall painter--Jobim's canvases are unevenly painted, creating spots and stains that activate the whiteness of the background through the luminosity and transparency of the blue.

The work is about visual relationships, process, and translation. It is about surface and saturation, boundaries and edges, flow and rhythm. While the lines and shape of these paintings can suggest the expanse of a landscape or the proportions of a still-life or an interior, they offer an abstract meditation on space.

Elizabeth Jobim has exhibited at numerous museums and galleries internationally. She has a B.A. in Graphic Design from the Pontificia Universidade of Rio de Janeiro (PUC) and an MFA in Painting from the School of Visual Arts in New York. She lives in Rio de Janeiro, Brazil. Elizabeth Jobim: Endless Lines is being presented at Lurixs Arte Contemporânea in Rio de Janeiro and at the Lehman College Art Gallery in New York. An online catalogue will be available at www.lehman.edu/gallery.

Elizabeth Jobim: Endless Lines has been made possible with support from the NYC Department of Cultural Affairs and JPMorgan Chase Foundation.

Mousse Magazine | New Issue | N. 15

2008-10-03T02:33:00.000-07:00

Mousse | Oct-Nov 2008 | Out now!
Mousse Magazine
Via Arena, 23
20123 Milan
Italy
Phone: t. | f. +39(0)28356631
Contact: info@moussemagazine.it
www.moussemagazine.it

Mousse is a bimonthly international contemporary art magazine. Each issue contains essays, interviews, conversations, artists' projects, and columns from correspondents in international art capitals. As of September 2008, Mousse is internationally distributed and can be found at museums, institutions, bookshops and concept stores in major European cities, including Barcelona, Berlin, London, Paris, Vienna, and Zurich.

In issue 15 ….

_Massimiliano Gioni traces a portrait of Klara Liden and her seemingly post-atomic world.
_Jennifer Allen sheds light on the multiple capacities of images: to trigger affinities, to alienate, or just to leave us indifferent.
_Caroline Corbetta, in a conversation with Ragnar Kjartansson, investigates the artist's cultural influences and the decadent nightlife of Reykjavik.
_Michele Robecchi gives an overview of the steps that have led Cristoph Büchel to become one of the highly-regarded and feared artists on the contemporary scene.
_Cecilia Alemani explains why Ryan Trecartin is the poet of Generation Y.
_Anna Daneri shows how Roland Flexner's work constructs layers, condensations and galaxies where the viewer's gaze and imagination can wander.
_Raimar Stange interviews Natascha Sadr Haghighian about her fictitious artist, Robbie Williams, unveiling the mechanisms behind the glamour of a solo show.
_Chiara Leoni investigates João Maria Gusmão and Pedro Paiva's fascinating philosophical chimera.
_Max Hernández-Calvo follows Armando Andrade Tudela through Peru, reflecting on the slippery nature of Modernism's shared terrain.
_Alessandro Rabottini roams among the thoughtful apes and approaches the LSD-laced fountains of Klaus Weber's installations.
_Paola Nicolin rummages through the fragments and ruins of Pablo Bronstein's universe.

NEW YORK: Cecilia Alemani goes back to the Land... Art. A 9000-km long road trip through remote deserts and valleys, on the trail of Robert Smithson, Donald Judd, Walter De Maria, Michael Heizer, Nancy Holt, James Turrell, and others.

LOS ANGELES: Andrew Berardini zeroes in on the relationship between images, incantations, agony, and the figure in the work of Matthew Monahan.

LONDON: Alli Beddoes, Ryan Gander's studio manager, accompanies us on a visit to the English artist's current works-in-progress.

BERLIN: Christiane Rekade explains why Mandla Reuter's simple acts create shifts in the exhibition context that open up the possibility of unexpected situations.

PARIS: Francesca di Nardo introduces us to the mystique of Aleister Crowley, father of the modern occult, founder of a mysterious abbey in Sicily, and tutelary numen of the Palais de Tokyo.

Plus…

_Andrea Viliani presents his new column, CURATOR'S CORNER
_Milovan Farronato interviews Sterling Ruby
_Gigiotto Del Vecchio writes about Kitty Kraus
_Francesca Pagliuca interviews Simon Dybbroe Møller
_Miroslava Hajek and Marco Tagliaferro talk with Franco Vaccari
_Elena Bordignon visits Ettore Favini's house
_Luigi Fassi interviews Davide Cascio
_Roberta Tenconi introduces Alberto Tadiello
_Vincenzo de Bellis interviews Ahmet Ögüt
_Markús Thór Andrésson writes about Reykjavik

ARTIST'S PROJECT: David Maljkovic, introduced by Ana Janevski

And much more…

Heimo Zobernig at Tate St Ives

2008-10-03T02:30:00.000-07:00

Heimo Zobernig b1958
Installation view Neue Galerie, Graz
1993
© Archive HZ

Heimo Zobernig and the Tate Collection
Tate St Ives
Porthmeor Beach
St Ives
Cornwall TR26 1TG UK
Phone: +44 1736 792185
Fax: +44 1736 792189
Contact: Arwen Fitch
arwen.fitch@tate.org.uk
www.tate.org.uk/stives/exhibitions/heimozobernig

4 October 2008 – 11 January 2009
Opening hours: March–October daily 10.00–17.20, last admission 17.00
November–February, Tuesday–Sunday 10.00–16.20, last admission 16.00
Admission: £5.75; £3.25 concessions; free to under 18s and Members
This exhibition at Tate St Ives will be the first time Austrian artist Heimo Zobernig (b1958) has been shown in the UK. One of the most significant artists working in Europe today, over the last twenty five years he has exhibited extensively all over the world creating a considerable body of work that includes sculpture, video, painting, installation, architectural intervention and performance. He has collaborated with artists including Martin Kippenberger, Albert Oehlen and Franz West and was included in Documenta X, Documenta XI and the 49th Venice Biennale. The exhibition will tour to the Modern Art Centre at the Calouste Gulbenkian Foundation, Lisbon in February 2009.

Much of Zobernig's work critically engages with various modern art movements, including abstraction, constructivism, minimalism, post-minimalism and conceptual art, as well as with architecture, design and theatre. He appropriates various art histories in order to question the ideological position and conditions which underpin them, subverting and reinterpreting them with a lightness of touch and an economy of material, means and methodology that is at turns playful, dry, witty, unsettling and disarming.

This exhibition includes important works made by Zobernig over the last twenty five years, as well as a number of new interventions into both the architecture of the galleries here at Tate St Ives, and the Tate Collection. Alongside his own works, the exhibition will bring together a diverse range of key works from the Tate Collection, specially selected by the artist. Drawn from the last 300 years they will include works by Pablo Picasso, Carl Andre, Henry Moore, Ad Reinhardt, Oskar Kokoschka, James Webb, Henry Wallis, Lawrence Alma-Tadema, Marcel Duchamp and Kurt Schwitters. Through their dynamic integration and juxtaposition with Zobernig's own works, and through his critical framing and display design, the collection works will be presented in a radically reconfigured context, producing an exhilarating, challenging and unorthodox display.

Working in collaboration with the Calouste Gulbenkian Foundation in Lisbon, the exhibition at Tate St Ives will include several additional loans from the Gulbenkian's holdings. In February 2009 the show, and several loans from the Tate Collection, will move to Lisbon where Zobernig's works will be reconfigured for the very different spaces of the Modern Art Centre José de Azeredo Perdigão (CAMJAP) and will engage with the wider context of the Gulbenkian Collection.

A Special Event takes place in the gallery on Friday 31 October 19.30 - 21.00. After Hours: Artist and Curator, join Martin Clark, Artistic Director at Tate St Ives, in a walk and talk through the galleries exploring the territories of artist and curator in the context of the exhibition. Free but advance booking advisable.

A substantial catalogue covering both shows will be published shortly after the opening at CAMJAP in Lisbon. It will include installation shots of both exhibitions and will feature new essays by Juliane Rebentisch, Bart van der Heide, Jessica Morgan and Liam Gillick.

Exhibition curated by Martin Clark
CAMJAP exhibition curated by Jürgen Bock
Catalogue designed by APFEL

Supported by the Henry Moore Foundation, Tate St Ives Members and Tate Members with additional support from the Austrian Cultural Forum London.

UNIDEE IN PROGRESS 08 - open studio

2008-10-01T22:41:00.000-07:00

Unidee in Progress 08
Cittadellarte-Fondazione Pistoletto
Via Serralunga 27
13900 Biella - Italy
Phone: +39 015 28400
Fax: +39 02 00617056
Contact: Francesca Fossati
ufficiostampa@cittadellarte.it
unidee2008.wordpress.com

opening one day event:
SUNDAY 5th OCTOBER 2008, from 5.00 pm
free entrance

Presentation of the projects for a Responsible Transformation of Society developed by the residents of UNIDEE 2008.

UNIDEE in Residence, 'creativity campus' of Cittadellarte-Fondazione Pistoletto, offers the opportunity to become activators of projects for a Responsible Transformation of Society to artists, curators and managers of socio-cultural projects. Four months at Cittadellarte-Fondazione Pistoletto: workshops, lectures, discussions and collaborative projects.

The projects Unidee in Residence 2008 will be on exhibition in Cittadellarte until December 31, 2008

IN RESIDENCE: (Current City / Nation)

Yael Bar-On (Jerusalem / Israel)
Biljana Ciric (Shanghai / Serbia)
Yolanda De los Bueis (London / Spain)
Manuela Macco (Biella / Italy)
Ahmad Malki (Ramallah / Palestine)
Elisa Marchesini (Amsterdam / Netherlands-Italy)
Pavlina Mladenova (Varna / Bulgaria)
Josefina Posch (Gothenburg / Sweden)
Christoph Schwarz (Vienna / Austria)
Marko Stamenkovic (Belgrade / Serbia)
Sakiko Sugawa (Kyoto / Japan)
Nidhi Sundram (Mumbai / India)
Daniel Alejandro Urrea Peña (Medellín / Colombia)
Yulia Usova (Kiev / Ukraine)
Sarah Vanhee (Amsterdam / Belgium)
Flávia Vieira (Porto / Portugal)

Cittadellarte aims to inspire people towards responsible change in society through ideas and creative projects.

Cittadellarte – Fondazione Pistoletto was founded in 1998 as the physical embodiment of the Progetto Arte Manifesto (1994) with which the artist Michelangelo Pistoletto proposed a new role for the artist: the role of creating an interaction between all the diverse spheres of human activity that form the society.

Cittadellarte is a huge laboratory where creativity acts as the crossing point between the diverse cultural, economical and productive sectors. It is a massive generator of energy, and a place for rethinking things, for sharing views, for studying and for doing research.

The name "Cittadellarte" incorporates two meanings - that of a citadel, namely a protected and defended area where artistic projects can be nurtured and developed, and that of a city, which suggests openness and complex interrelations with the world.

The activities of Cittadellarte are based on a vision of "creative involvement", where art interacts directly with all dimensions of the social system - from economics to politics, from science to production, from education to behaviour - in order to achieve a responsible transformation in human civilisation.

RIVANE NEUENSCHWANDER at South London Gallery

2008-10-01T22:37:00.001-07:00

Rivane Neuenschwander,
Continent Cloud, 2007-08,
Installation View, Stephen Friedman Gallery, London 2008

RIVANE NEUENSCHWANDER: SUSPENSION POINT
South London Gallery
65 Peckham Road
London SE5 8UH
Phone: +44 (0)20 7703 6120
Contact: South London Gallery
mail@southlondongallery.org
www.southlondongallery.org

3 October- 30 November 2008
Tuesday–Sunday, 12–6pm
Closed Monday
Internationally acclaimed Brazilian artist Rivane Neuenschwander completely transforms the gallery space with a site-specific installation. Monumental in scale, yet incorporating minimalist elements including drilled holes, the residual dust and tiny perforations in every frame of a 16mm film, this major new work encompasses a number of discrete but inter-related components.

Born of the artist's unique sensitivity to space, Neuenschwander's installation takes as its starting point the full height of the SLG's impressive main exhibition hall, the beautiful glass ceiling lantern and the horizontal line which notionally divides the space in two. A visually elaborate but essentially simple wooden structure supports a new floor punctuated by a staircase leading visitors to the level above and an entirely fresh perspective on the upper area of the gallery. Here a line of circular holes circumnavigates the space, dividing it in half again but also highlighting the continuity of the walls' surfaces in the absence of doors. A perpetual dialogue between additive and reductive processes is established, a dialogue which permeates the exhibition, each work within it and the relationships between them.

The temporary floor equally transforms the lower half of the gallery, populating it with supporting struts and obscuring the daylight which would otherwise flood the space. The floor is also a ceiling, emphasising the interior nature of lower space and setting up a contrast to the light-filled area above. Three works on the upper level make counter references to exterior landscape. A miniature mountain range is formed from the dust generated by the drilled holes in the walls and a droplet of water periodically falls into a pool of water, a 'lake', below, triggering a sound piece mimicking rainfall. In a third work a flickering spot of light is created by 1001 tiny holes in a 16mm film as it threads through a projector. Its title, 'Arabian Moons', makes reference to 'Arabian Nights' and lends the spot of light a celestial quality, introducing yet another cycle, that of night and day, in an exhibition where every interpretative direction leads to another and ultimately back to its starting point.

Opening of Centre for Visual Introspection Bucharest / Romania

2008-10-01T22:23:00.000-07:00

Launching Event: Ars Telefonica 2008
Centre for Visual Introspection
16 Biserica Enei, Bucharest, District 1, Romania
Phone: +4021 314 22 98
Contact:
office@pplus4.ro
www.pplus4.ro

23 September- 30 October
Opening Hours: We-Sa 12.00- 17.00
Centre for Visual Introspection is an independent platform for research, artistic and theoretical production founded in Bucharest by a collective of artists and curators.
The Centre opens its doors with a series of site-specific art interventions displayed in the phone booths in the central district of Bucharest during 23 and 27 September and an accompanying program of lectures, sound performances and a special exhibition, grouped under the title 'Ars Telefonica'.

Participants: Studio Basar (Bucharest); Luca Frei (Malmő); Carl Michael von Hausswolff (Stockholm); Dőrte Meyer (Berlin); Roland Schőny (Vienna); Bernhard Schreiner (Frankfurt); son:DA (Maribor); Jiri Skala (Prague); Nasan Tur (Berlin); Joanna Warsza (Warsaw); Adnan Yildiz (Istanbul/Berlin)

Special Event:
Let me hold you hand,
Iratxe Jaio + Klaas van Gorkum (Rotterdam)
Opening 02 October

Scheduled to take place with regularity in Bucharest, involving with each edition new curatorial formats, 'Ars Telefonica' is conceived as a temporary platform for exhibition display which proposes a re-reading of the connections settled in a specific context between art, its venue and audience. The decision of the curators to appropriate for this edition a temporary space for exhibition display – the phone booth – responds to the actual request of the local art scene to search for new contexts of dissemination of contemporary art and to establish a community of interest for this cultural sector.
The question dropped by the project is to which extend a temporary platform of this kind can disturb the behavior of the art public, the accidental public or of the partners participating directly to contemporary art production? Do these spaces have a potential in facilitating or in speeding up the process of social and cultural exchange?

Organizer: Centre for Visual Introspection/ pepluspatru Association
Project financed by: Ministry of Culture and Cults - European Year of Intercultural Dialogue 2008
With the support of: Romanian Cultural Institute, Czech Centre, Polish Institute Bucharest, Royal Netherlands Embassy Bucharest, Union of Artists, Romtelecom, HP, Atas Lighting, Rigips, Next Dog Studio, Strat-1 Sound, Tempo Hotel
Media Parters: 24 FUN, Omagiu, Arhitectura, Arhitext, Republik, Suplimentul de Cultura, Igloo, Feeder.ro, Clandestino.ro

Anika Lori 'The Destruction of Atlantis' at UNION

2008-10-01T22:17:00.000-07:00

Anika Lori 'The Destruction of Atlantis' curated by Jesper Elg
UNION
57 Ewer Street, London, SE1 0NR
Phone: 0207 928 3388
Fax: 0207 928 3389
Contact: Mary Zurigo
mary@union-gallery.com

www.union-gallery.com

Exhibition dates: 01/10/08 - 29/11/08
Monday - Friday 10am - 6pm, Saturday 12 - 5pm

Private view: 30/09/08, 6 - 9 pm
UNION is pleased to present three exhibitions in one show featuring new works by young Danish artists plus a group show of international artists.

Solo presentation by Anika Lori
Anika Lori works in mixed media creating art that transgresses formal barriers and achieves a mastery of expression and language that is uniquely and resolutely hers. "Nobody Puts Baby In A Corner" is a series of collages employing materials which glitter, glare and wink. This frenzied portrayal is conveyed through the use of weird animals, crying clowns, vintage porn, masks, fashion images, wigs and moustaches. Her work is an expression of a sincere and sanguine fascination with sexuality and an appreciation of its diversity. It explodes before the viewer like a confetti packed firecracker that leaves the ears ringing with a strange poetry in which complementary difference is celebrated to the exclusion of all else.

Visibilities
Solo presentation by AVPD (Aslak Vibæk & Peter Døssing)
Stalker, unfolds as sequence of four connected and uniform corridors. The central installation is made up of four huge mirrors positioned at angles creating an endlessly repeated 360 degree reflection of the four corridors. To walk inside the installation is to encounter an image of oneself standing behind oneself. We are forced into a position of detachment and into taking the role of being our own stalker. Thus the installation becomes a stage and we become performers, made to watch an uncanny scene where we observe and are observed by others involved in this performance with us.

The Destruction of Atlantis
A group show curated by Jesper Elg featuring new works by a diverse group of young international artists including:
Ulrik Crone, Michelle Blade, Wes Lang, Julian Rőder, Steve Powers, Todd James, Troels Carlsen, Andrew Schoultz, Jakob Boeskov, Kasper Sonne, HuskMitNavn, Matthew Stone, Hesselholdt & Mejlvang, Alex Lukas, Peter Funch, Jes Brinch and Richard Colman.

The title refers to humankind gradually making the Atlantis myth come true. Our civilization is slowly sinking and we are making what we thought was a bizarre myth come true. Basically we are destroying our own civilization while we claim to become more civilized. Jesper Elg

The exhibition explores the legend of Atlantis interpreted from the perspective, that due to our unthinking treatment of the natural world we are gradually fulfilling, what many thought of as a ludicrous myth. Writers, philosophers and artists have attached many themes to the myth over the last 2,500 years; the destruction of an advanced civilization, natural catastrophes, man-made disasters, utopia, hubris, nationalism. As waters rise and weather systems become increasingly unpredictable, it is not difficult to recognize the correlations between the mythologised island and our own environment. The exhibition reflects and comments on its theme through painting, photography, sound, drawings, sculpture and installation.

Quizzlestick...

2008-09-15T21:29:00.000-07:00

Why can't all game shows be this simple?

Design for Everyone at Rose Street...

2008-07-09T21:04:00.000-07:00

As part of the upcoming Design Festival, The Rose St. Artists' Market is proud to host the latest installment of My Sisters Wardrobe.

As well as having the opportunity to swap your pre-loved clothes for a new wardrobe, there will be fantastic market stalls featuring local artists and designers so we encourage everyone to come along.

The event is taking place on the 18th of July so register your interest today at www.clothingexchange.com.au

Strength in Numbers

2008-07-02T23:04:00.001-07:00

A big congratulations to Adam (Project Director of Rose Street) for being selected as a finalist in the National Design Centre - Poster Annual competition. Designers and artists were invited to respond to the brief, titled “Strength in Numbers”.

Adam's poster entitled "A Show Of Hands" is one of only 43 chosen to be exhibited.

All finalists will be shown at BMW Edge, Federation Square in Melbourne as a highlight of the annual Melbourne International Design Festival which is on 17-27 July 2008. Be sure to get on down and check out his work...

Reverse Graffiti Art

2008-06-20T01:33:00.000-07:00

Who said graffiti can't be green! Check out the reverse graffiti artists'!

Framed BMX Exhibition

2008-06-17T21:48:00.000-07:00

Hey Gang,
A big shout out and thanks to everyone that took part in the Framed BMX exhibition it was an awesome night with some rad machines on show. We had heaps of press coverage and good to see some old skool bmx heads come out of the closet!! Check out the pics.

This is how we roll!!

Taking animation to a new level...

2008-05-14T18:23:00.000-07:00

With amazing vision, patience and creativity, Mutu has breathed life into an otherwise lifeless wall. The results are awesome...we would love to see something like this in the back streets of Fitzroy although it seems unlikely as she currently lives and works in Brooklyn, New York!

Orphfund doing great things at Rose Street...

2008-05-12T18:38:00.000-07:00

For regular visitors to The Rose St. Artists' Market, you'll no doubt recognise the sight of Steve Argent collecting loose change at the front gate. But where is the money going.

Well, you'll be glad to hear that 100% of all money collected each Saturday goes directly to communities around the world, building orphanages and schools to help street children that are alone and vulnerable due to poverty, disease, war, natural disasters and injustice.

Orphfund is a grassroots organisation and so far, through their involvement at our Market, they have managed to raise thousands of dollars.

Now you can help Orphfund by voting for them on the Myspace Impact Award. It only takes a second to vote but will make a huge difference to the communities they help.

All people need to do is hit this link and vote for Orphfund!
http://www.myspace.com/impactawardsau

Voting is open until May 23...

Framed 2 BMX Exhibition

2008-05-04T21:48:00.000-07:00

The Rose St. Artists' Market in conjunction with DC Shoe Co and Urchin Associates are pleased to announce our upcoming exhibition entitled 'Famed 2 BMX'. It will be a showcase of everything BMX including rare collectable items such as helmets, gloves, posters as well as plenty of rad bikes! DC will also be bringing along the limited edition Quadangle never before seen in Australia as well as the recently released PK Ripper! The exhibition is a one night only event kicking off Thursday 29th May 2008 between 6pm and 10pm @ The Rose St. Artists' Market (60 Rose Street Fitzroy). This is a free event with DC giveaway's at the door!

So get on your bike and head down!

Rose St. Merchandise

2008-04-24T00:36:00.000-07:00

Hey Hipsters,

You too can now be too cool for school by wearing a Rose St. tee! You can buy yours down at the Rose Street Artists' Market Kanteen each and every Saturday, or during the week at The Tshirt Take Away 40 Johnston Street Fitzroy. Tshirts come in all sizes both for men and women and are $40.

So, get your kit on!

Naughty Pete's Crazy Adventures

2008-04-22T22:19:00.000-07:00

Over the next few months, keep an eye on our blog and follow the moves of 'Naughty Pete', our Rose Street mascot as he gets up to mischief around the world, spreading the Market word!

But, do you think you can do better?

To be in the running to WIN a $200 Rose St. Artists' Market gift voucher, all you have to do is send in an image of yourself promoting the Market in a wacky and creative way! All submissions must be emailed to us by Monday 30th May 2008.

Fly the Flag and WIN!

Playing with words!

2008-04-16T19:00:00.000-07:00

Let a typographer loose with the script from Pulp Fiction and what transpires is a whole new take on the Quentin Tarantino classic. Simply thinking outside the square and utilising new technologies can push the limits of design to a new level.

You can picture the action through the clever use of type and hopefully the below grab inspires more creativity from artists and designers everywhere...

A peek into the future...

2008-04-09T21:44:00.000-07:00

It's 1970, and man has just walked on the moon so one can forgive Bertone design house for having stars in their eyes when they came up with the Lancia Stratos Prototype.

The car is a perfect snapshot of an era where mild, unassuming design eatures just didn't cut it. It's all about aggressive, and progressive thinking! And it still looks amazing today.

The leaves are falling...

2008-04-02T21:04:00.000-07:00

Well Autumn is here and we're getting stuck at our desks more and more so here's a little something to warm your creative hearts. It's the new film clip for Justice. It's more of the same from So Me! and we love it.

Taking cues from 80s TV show intro's, So Me! is again pushing design to new levels.

Check it now...

WISHING YOU A PIMP’N XMA$

2007-12-10T17:15:00.000-08:00

Yo Yo Yo,

The Rose St. Artists’ Market is helping you keep it real this Christmas with loads of bling products on offer like killer jewellery, dope threads and blazin’ artworks. Whatever your style, we’ve got it sorted.

With an all star line-up featuring 70 of Melbourne’s dopest artists and designers as well as live music throughout the day, every Saturday turns into a block party of mammoth proportions. But don’t take our word for it, assemble your crew and check it out for yourself!

It’s all here in your own ghetto so support local talent and be the envy of your gang as you bust out unique and one-off goods!

We hope you have a pimp’n xma$ and thanks for making The Rose St. Artists’ Market, Melbourne’s freshest artist and designer market.

Peace out and we look forward to seeing you soon!

Clothing Exchange @ Rose Street

2007-11-27T17:33:00.000-08:00

The Rose St. Artists' Market is pleased to host a special event this Friday - MySpace in the Wardrobe.

It's a chance to get rid of some of your unloved clothes and pick up some new pieces just in time for Christmas!

Check out www.clothingexchange.com.au for full details. See you there!

The Swan and the Owl

2007-09-11T21:29:00.000-07:00

The Swan and the Owl exhibition by Rose Street artist in residence Clare Whitney kicks off Saurday 15th September between 3pm and 5pm at 4Cats Gallery, 269 Johnston Street Abbotsford. Be sure to check it out.

Reka to Spray!

2007-09-10T22:24:00.000-07:00

Rose St. is proud to announce that Reka one of Australia's most talented graffitti artists is set to paint a piece on the bomb of a car that has lay dormant for up to five years out the front of the Rose St. space. So we all decided it was well over due for a new paint job and have commissioned Reka to do the duty of beutifying it! To check out Reka's work go to his website at www.rekaone.com

Hot Off The Press!

2007-09-10T21:50:00.000-07:00

The Rose St. Artists' Market was also featured in 'Sportsgirls - On the Streets Issue', with over 1 million copies distributed Australia wide we are expecting a large contingent of cute girls - what's not to love?!

We will also be featured in Vogue Entertaining in the upcoming October edition as well as Vogue Living in December, so grab yourself a copy and have yourself a laugh - We are!

New York Times Here We Come!

2007-09-10T21:38:00.000-07:00

Well,

Who would have thought that a little back street Fitzroy venture would be featured in the world's most read newspaper -'The New York Times"?!..... Yep, The Rose St. Artists' Market will be featured in the upcoming edition of 'T Magazine' which is a weekend travel and lifestyle pull out similar to The Age's - Melbourne Magazine. The article looks at the market. it's history and the artist's and designer's who sell there wares here. So check it out online!

Another great exhibition...

2007-08-21T20:10:00.000-07:00

It's definitely the season for exhibitions as another Rose St. Market regular announces their debut jewellery exhibition.

Entitled 'Taboo', the guys behind Exotique Earth jewellery are promising a night of 1930's decadence and all of Melbourne is invited.

So dress up and get along to Baroq House (9-13 Drewery Lane, City) on Friday 7th September from 5.30pm.

For info, visit www.exotique.com.au

Exhibitions Coming Up...

2007-08-13T21:04:00.000-07:00

Over the coming months, there are plenty of Rose St. Artists' Market stallholders who will be having exhibitions right across Melbourne. Included in Sepember are Noriko Ikaga and Clare Whitney.

Noriko's exhibition is entitled Kusudama 07 and features her amazing origami works. Opening night is Friday 7th September so mark it down in your diary. Check out her site for more info http://www.geocities.com/procrastinatene/no.html?1168215302354

Clare's exhibition is entitled The Swan and the Owl and features a series of works on paper. The exhibition tells the story of the swan and the owl with imagery that is both graceful and strong. This exhibition kicks off on Saturday 15th September at 4cats Gallery.

Be sure to check them out!

Daft Hands - Harder, Better, Faster, Stronger

2007-08-02T22:46:00.001-07:00

There will be a test on this one next week!

2007-07-17T01:07:00.001-07:00

Adelaide Fringe Poster Competition

2007-07-12T18:43:00.000-07:00

Hey guys,

For all you budding artist's and graphic designer's the Adelaide Fringe Festival is once again calling for entries to design the poster for this years festival.

Design brief

The call has gone out to budding and established artists and designers from around Australia to become a part of Fringe history by entering the iconic Adelaide Fringe Poster Competition.

Not only will the winner will enjoy the kudos of being the designer of the hugely exposed Adelaide Fringe poster but they will also win a return flight to Hong Kong flying Malaysia Airlines plus 4 night’s accommodation.

“The team at Adelaide Fringe is on the search for entries that are iconic, strong, radical, with heaps of character,” said Fringe Director Christie Anthoney.

“The winning entry might make us laugh or it might be more thought-provoking and risqué, but at its heart it will convey the unmistakeable, city-transforming nature of the Fringe as well as throwing around a bit of love,” she said.

Now a long-held Adelaide Fringe tradition, the poster competition is an ideal way for both established and up and coming designers to showcase their talents while actively contributing to the look of the next Fringe. Regularly attracting hundreds of entries, the competition is a fixture on the design competition calendar with high calibre entries received from artists, designers, students and amateurs alike.

“The poster competition provides the winner with great exposure as their design will be used to promote the second largest Fringe in the world,” said Christie.

“We encourage anyone who is passionate about design and wants to be involved in Adelaide Fringe 2008 to take part and enter the competition,” she said.

Entries for the 2008 Adelaide Fringe Poster Competition close on 5 September 2007.

To obtain an entry form go to: www.adelaidefringe.com.au

Book Launch Thanks!

2007-06-21T21:19:00.000-07:00

Hi Gang,

Just a quick thank you to everyone that turned out last night for The Little Black Book launch last night. Im sure there are a few sore heads out there today.

For those who could not attend the book hits the shelves today and you can pick up your copy at:

The Rose St. Artists' Market
60 Rose Street,
Fitzroy, 3065
Ph: 9419 5529
rosestmarket.com.au

-----------------------------------------------

Metropolis Bookshop
Level 3, Curtin House
252 Swanston Street
Melbourne 3000
Ph: 9663 2015
metropolisbookshop.com.au

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Polyester Books
330 Brunswick Street,
Fitzroy, 3065
Ph: 9419 5529
polyester.com.au

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Greville Street Bookstore
145 Greville Street,
Prahran, 3181
Ph: 9510 3531
grevbook@bigpond.net.au

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The Paperback Bookshop
60 Bourke Street
Melbourne, 3000
Ph: 9662 1396
paperbackbooks.com.au

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Enjoy your read!!

RSAM Crew

Flipit June Edition

2007-06-12T20:41:00.000-07:00

Checkout our June edition of Flipit, your local guide to everything and anything that is, and lives within Melbourne! We are soon to release Flipit in Sydney, Amsterdam, Stockholm and Kiev.

So have a browse and tell us what you think!

RSAM Crew

The Little Black Book Launch

2007-06-12T20:29:00.000-07:00

Hey Gang,

After months of hard work, The Little Black Book will finally hit the shelves this week and we’d like you to come celebrate with us.
The official launch party of Edition 1 – Building Blocks will take place next Thursday 21st June at Alia Bar from 7pm until 10pm. Not only will this be your first chance to get your very own copy of The Little Black Book, but you will also be able to meet and speak with many of the artists featured in the book.
The Little Black Book is a showcase of work from artists, designers, jewellers and other creative types who exhibit and sell their work at the buzzing Rose St. Artists’ Market. This collectable book also has articles about the inception of the market as well as contact details for all the artists.
To make sure you’re part of this great event, remember to get on down to :
Alia Bar
Level 1,
83-87 Smith Street,
Fitzroy next Thursday 21st from 7pm.

Come down and have a drink with us!

The Rose St. Crew

Welcome to the Rose Street Blog

2007-06-04T19:46:00.000-07:00

Hi there,

Well we have started our own blog. We will keep you informed with new events, artist exhibitions, and things that make us tick.

Feel free to leave a comment or drop us a line!

stay tuned.
RSAM