art was not made for tv

but youtube is doing a good job so far. it is a showcase for great moments of art in a tv-format and art that was on tv. like this great performance of john cage in 1960.

comtemporary art in the re-modus

i just got this book from projectspace176 called past-forward which accompanies the exhibition curated by vincent honoré and a product of his residency at the zabludowicz collection in london. honoré's text _ a fragmented time_ is a trip into the artists practicies of today and their origins. in other words, the content of past-forward is just what we need to know and re_cap about the situation in which art production or re_production is at.

michael ned holte, contribution to past-forward titled_

frequently
unasked
questions

starts like this_

"what is it that makes today's art so different, so appealing?

what's appealing is that so little is different.
The contemporary is marked by a simultaneous and contradictory refutation and reiteration of the past. in other other words, it is all about the re-:
reduce,reuse,recycle,..(+77 re-verbs).realize they're super bad, repeat, repeat, repeat... "


another great piece in the book is
"corpse in reverse" (kiev exquisite) by raimundas calasauskas.

in a numbered limited edition of 1,000 this book designed by åbäke is a piece of gold not to say it is an art piece by itself. reading this book we don't even need to see the exhibition to realize how important this contribution is for the contemporary re_search.

manifesta 7 and why we may need museums for the souls

at manifesta7 one of the best sections is "the soul or, much trouble in the transportation of souls" curated by anselm franke and hila peleg. anselm directs the extra city center for contemporary art in antwerp and hila is currently a PhD candidate in curatorial knowledge/visual cultures at goldsmiths college/university of london. this collaboration became a very intelligent work.

they "collected" and assembled works by artists and other muldiciplinaries practicioners like natascha sadr haghighian wich have made this video which shows dancer, choreographer and former microbiologist xavier le roy in conversation with ostheopath martina zeidler{more here}. 

the two videos by keren cytter, which did push buttons on local and european conflicts, historical and present ones by mentioning the poverty of the soul and the arrogance of european societies trough the centuries towards the rest of the world and in their own local realietie as well. keren cytter managed to do a time specific work. with artist like andree korpys and markus löffler and their video piece "villa feltrinell" we can see how history is always hunting the present and how we can use that to transport the troubled soul in discussion in the m7 project.{more...}. 

the choice of presenting a series of "museums works" _ "the MUSEUM OF EUROPEAN NORMALITY" by maria thereza alves, jimmie durham and michael Taussig ,"the MUSEUM OF LEARNING" by brigid doherty (more here..). 

in the top of it all this section of the manifesat7 does a constant research on psychiatric ativities in and on society. good example are The Museum Projective Personality Testing and  The Museum for Franco Basaglia (more here..).

this specific part of the exhibition can make us think about the real time and place for museum. the relation to human necessity of remembering or forgetting reality. the artists and researchers invited to be part of this section of the manifesta are some of the most intense and witty ones working today.

the artist of m7, coming from all over, the planet are not easy on the europeans or italians, by the way,  making this manifesta not an easy one to digest or even understand by locals but very important one for the intensify the art making as a scientific work almost.

the manifest7 index is a good publication to go along with the exhibition. the piece "regenerating memory" written by hedwig fijen, fabio cavallucci and andreas hepkemayer goes to the core of this project. the choice of the location was really good and important as well.

more later on  the "principle hope " in rovereto...

1# HomeBodies exhibition

Investigation of possible experiences of a Space No. 7 by jonas jensen
book written in danish and english, 62 pages, 2008


finally is there

The first HomeBodies exhibition will open the 8th of August 2008 and run until the 13th of September 2008 at the Atelierfrankfurt, Frankfurt am Main, Germany. Seven artists and one curator have produced this exhibition. Ola Bielas (Poland), Francisca Bancalari (Argentina), Keren Cytter (Israel), Teresa Gillespie (UK), Jonas Jensen (Denmark), Dirk Krecker (Germany), and Charlotte F. Smith (UK), have materialized works independently and or dependently within the HomeBodies framework created by Annabelle von Girsewald. The sculptural and audio installations, videos, and textual based works investigate alienation and displacement in relation to the concept ‘home’.

HomeBodies began in early 2007 as a student project of the London Consortium. Annabelle von Girsewald’s call for artists developed into a two-day HomeBodies Conference at Birkbeck College, London 2007 where 12 international academics and artists presented papers and works responding to the transformation of ‘home’ and to Gaston Bachelard’s The Poetics of Space. Bachelard’s phenomenological and psychological interpretations of the house and in particular Jung’s dual image of the cellar and attic were explored.
The process-orientated project has continuously evolved into a global altermodern explanation of ‘home’ devoid of nostalgia.

“HomeBodies” originates from the American word homebody meaning a person who prefers pleasures and activities that center around the suburban home and especially the basement. This is the starting point for the project yet in reverse, the displacement of its 20th century meaning. Therefore not feeling ‘at-home’ becomes a program in effect. The program aims to include multiple positions within the HomeBodies complexity of place-making while struggling with the foundation of its constructions to comprehend the correlation between the body and the home. The project accepts the danger of our habitat remaining in the dark rather than giving in to desire to see in entirety.

Exhibition opening 08.08.2008, 8 - 10pm

open tuesday and friday from 5 to 8pm
saturday from 3 to 6pm

or by appointment

atelierfrankfurt
hohenstaufenstrasse 13 - 25
60327 frankfurt ma main
kontact@atelierfrankfurt.de
tel. 069-7430377-1

some photos here
http://www.new.facebook.com/album.php?aid=2003697&l=479a5&id=1002720313

science artists where are they

is there many like cornelia hesse-honegger a science artists out there these days?

some how they are in between the art and crafts. they were in the past much more regarded as artists. are they today still be able to claim the artists status?

with the advance of technology in imagery making i think they almost lost that artistic status.

thanks very much for iori wallace for the tipp about this artist and her achievements .

dontneed.org will be on

today monday the 3.3.2008

dontneed.org will celebrate its launching from 8pm on***

come and join us at oppenheimerstr. 43,  frankfurt am main

there will be a live interview with boris the "bunny releaser" and kaspar knigge direct from copenhagen 'Ö'Ö'Ö' and we will be able to watch jorma foth "calling gregorio". hanna hildebrand will be around talking without words. ayaka okutsu will chat with saul judd, the lights will be by lasse schmit hansen, videosounds by duft punk and duft champ by ilja karilampi spacial energy appearance by agassi bangera.

great shout to mathias wollin*, kolja remke*, adreas dehlinger*, shane munro*, dana munro,* christian tonner, sascha hanssen* micha,* lasse schmidt hansen,* städel academy,*

swoon at the moma

in berlin, may 2005, was the last time i saw swoon.



swoon post her art in walls all over the world.
now she had the opportunity to talk about her work in the moma.

regarding her work and artists that choose to work in the streets remains always the question, is possible and necessary to translate the work into a institutional or white cube setting?

today illusion only is sacred, truth profane, guy debord

more then ever monsieur debord's ideas are alive and well

just read his book or watch his movies if you have not done it yet.

here the begining of "society of the spectacle"

Chapter 1 “Separation Perfected”

But certainly for the present age, which prefers the sign to the thing signified, the copy to the original, representation to reality, the appearance to the essence... illusion only is sacred, truth profane. Nay, sacredness is held to be enhanced in proportion as truth decreases and illusion increases, so that the highest degree of illusion comes to be the highest degree of sacredness.
Feuerbach, Preface to the second edition of The Essence of Christianity

1.

In societies where modern conditions of production prevail, all of life presents itself as an immense accumulation of spectacles. Everything that was directly lived has moved away into a representation.

2.

The images detached from every aspect of life merge into a common stream in which the unity of that life can no longer be recovered. Fragmented views of reality regroup themselves into a new unity as a separate pseudoworld that can only be looked at. The specialization of images of the world evolves into a world of autonomized images where even the deceivers are deceived. The spectacle is a concrete inversion of life, an autonomous movement of the nonliving.

read more here

here the film

notbored has everthing on debord

here part of "guy debord - la refutation"



here somebody take on the society of spectacle, not that bad, what you think?_

one continuous exhibition started

_we three_ a.k.a. matthew richardson, shane munro and  christian  tonner just opend the doors of a new off space in frankfurt and started the _one_continuous_exhibition_

here their introductory text

“There is just one artist, always.” Ad Reinhardt, mid-1960s

“There is just one continuous exhibition, always.” Us (We Three), 2007

The idea of the project is to create a space, which is predicated on re-invention, criticism and discursive interchange. This will be achieved by the implementation of a simple framework that, open to all members of the school, will exist as a single, ongoing, exhibition subject to continual revision.
From the start it is clear that One Continuous Exhibition wishes to break with the format and intentions of the space’s previous use. One Continuous Exhibition wishes to do away with blindly received protocols, which are unquestioningly adopted from commercial art venues. We believe it is ourselves, acting as art students, and not as pseudo gallerist’s, who should experiment with the space’s theoretical underpinning as much as we explore what its form and content can be. In doing this we do not simply seek to refine a set of display case answers, which are as dead as the vitrines in which they are housed, but rather wish to create living questions – the social over the stale, the discursive over the discrete. Crucially, One Continuous Exhibition should function as much as a working studio or open laboratory as it should an exhibition platform or interface for public display.

What will differentiate One Continuous Exhibition from other exhibition venues in the City is the nature of its single ongoing exhibition and its continual attitude towards editing and revision. To begin with we suggest dividing interested parties into self-designed groups who will be given the opportunity to make contributions to One Continuous Exhibition - at points throughout its duration. At the moment the duration of the project is up for debate but we think something like six months might be a reasonable timeframe - certainly six months seems like a long enough period to propagate interesting and ongoing dialogues and exchanges. To achieve this discursive environment One Continuous Exhibition will have one defining attribute, which is that no work is ever to be removed. This means each new incoming installment will necessarily have to contend with the previous installments. Updates will therefore be as much about creating new works, as they will be re-hanging and re-contextualizing existing work and installations.
As for what incoming groups may do - this is again up for grabs. Whether they introduce and display discrete objects or they invite other artists, filmmakers, writers or architects to make performances, lectures and events, all will be welcome. So far the only stipulation is to contend with what always already exists be that in a negative, progressive or transgressive manner!
“Painting is always a risk. With each brush stroke that you add you hope the work will change for the better. You do not know this for certain but you make it anyway.” Wilhelm de Kooning, along time ago.
“’The Work Shown in this Space is a Response to the Existing Conditions and/or Work Previously Shown Within the Space III’ was a progressive group show ran for a luxurious period of almost five months. It was not the first of its kind, but modeled after a 1978/79 series of exhibitions initiated by Peter Nadin in his New York apartment, and a 303 Gallery sequel in 1992. Each artist was invited to add to the work already installed in the gallery.” Dominic Eichler reviewing ‘The Work Shown in this Space’ at Neugerreimschneider. Frieze Magazine, September 2000.

One Continuous Exhibition wishes to take the sentiment of de Kooning and mix it with parts of the structure offered by ‘The Work Shown…’ One significant difference with the three incarnations of Nadin’s exhibition is that curatorially the works were preserved both physically and conceptually. Meaning throughout the duration of the exhibitions the works remained intact at all times. Whilst One Continuous Exhibition is interested in the progressive element it also acknowledges the importance of de Kooning in the sense that the added brush stroke, i.e. incoming update, may in-fact ruin the previous version. In this sense existing installments will be considered as raw materials, which may remain in tact or may be used to create new forms or structures. Post update nothing is to be treated as sacred! Rather in the manner of Seth Price everything is available up for grabs.
‘When Attitudes Become Form.’ 1969 exhibition held at the Kunsthalle Bern, curated by Harald Szeeman.
‘When Attitudes Break or Repair Form.’ Us (We three), 2007
“Something these laboratory research projects have in common is that there are different layers of involvement for the artists: some contribute a work, but often a new work is triggered, and others contribute structural elements for the installation or exhibition architecture. In order to understand the forces which are effective for the visual artist it is necessary to look at other fields, not just artists but architects, designers and writers in order to create a pooling of knowledge. I think a curator should not stand in the way. This is my idea of curating: not only to ask the artist to do a piece, but to get involved in a different, often more intense, way.” Hans Ulrich Obrist –Laboritorium
In the manner of some of Hans Ulrich Obrist’s exhibitions, such as Laboratorium, Cities on the Move or Do It we think One Continuous Exhibition should be a project that does not have a predetermined goal. Following on from this - the loose framework we have nominated above should itself be subject to revision and in this way all information and arguments should be seen as temporal questions & positions.
Lastly we believe that One Continuous Exhibition should be made by ourselves in our capacity as art school students. It should ask more questions than it provides answers to and it should exist until it ceases to be interesting.

exhibition 149 at the portikus

this construction at the portikus in frankfurt, erected by michael beutler, gives us a hint of the whole range of possiblilities we find today to deal or not deal with the current art affairs after the mega european art summer of 2007, which end up becoming a funny story. but actually in this construction we will find more questions then answers to any current discussion on the manufacturing of art and its relevancy for todays life and doings. we will see in this mammute object constructed inside of the portikus referencies to sculpture, paintings and objects. from concrete art to art brut. after seeing it we can attempt to make reflections upon form and composition. we could ponddering about art made in the last few years by artists playing with excessive use of materials. we even can have thoughts on recycling of materials used in art and the recycling of art itself. i am sure works like this will rise question of the
how much art should be more political in its essence and contents or just be art for the sake of art.
do not forget that we are living in the age of _metropolis-like_ urbanity. artist are facing difficulties to filling up the mega art spaces provided by more and more museums or by the bienalles, everywhere, art fairs and huges building complexs from frankfurt to dubai.

michael have very clear said in some interviews that he learned and is inspired by people like buren and he studied with thomas bayrle and george harold. this late work can be seen as a very nice homage to these artists somehow. they sure deserve it.

looking at the a not so distant past i can not forget one of michael's first great series of works, which i saw at michael's studio at the staedel school. it was objects made out of hardning cement inside of jute bags. after tearing the jute off he end up having this brillante drawings revealed through the marks left in the cement. for a project, around 2001, that we did in london he build a machine that transformed alufolie into a hard looking material again turning things around and allowing the material respond to the needs of the work, leting the process do most of the work.

another great piece by michael was the _verputz machine_ ( plastering machine ) a room-specific work he created for the project dontmiss in frankfurt in the summer of 2001.

today he still approching in the same manner his art production but i am quite sure things are turning to more serious adventures here. the portikus contruction and the the contruction at the LAC in frankfurt are taking michael work and the viewers to new hights, literally.

goodbye CBGB, welcome east village

the new york times just did this piece about the influence that the east village had in the art making in new york.

when artists criticise artists and their art

and are they successfull with it and because of it? is the work "He Could Sell Pyrite to..." by dave muller an good example?

the documenta nightmerish edition

i went to the documenta 12 which could be called the d13 or the nightmerish documenta edition.

seems that mrs. ruek and mr. buergel managed to hack kassel. lets be honest they do not like kassel. just look at the rice terrasse at the schloss wilhelmshöhe, it looks like a ecological desaster.

yes the circus came to town and put up its tent called pavillion auve, right there in front of the orangerie. this pavillion which became an art "kraempel laden" (german for big mix bazar with whatever in it. a little bit of everything but nothing really making sense as a whole). that must be the answer for one of the famous theory of the documenta 12 makers - das bloße leben - the naked life. they did show mediocre painting with naked bodies, that for sure.
what is hard to accept is the arrogancy of the curatorial duett in put up a hausfrau exhibition show - (housewife show) and try to disguise it as a feminist approach for a socio-political discourse in art.
if something good is coming out of the documenta is the magazine that is made out of 97 magazines around the globe and are not really in the hands of the curators. sorry i have to disappoint you. the work with the magazines is also very tight controlled by the main curators, so much, that some magazines were invited to be part of the documenta 12 but decided not to participate because they would have to be very critical to the documenta 12 itself and they would not be paid for their work as result of that .

never was the documenta, this is my 4th one, so unintelligent and boring.

but dont worry frankfurt is not that far from kassel, in the case that you must come to kassel you might as well stop by frankfurt and see better shows in this town, here is a list of some of them.


the kapital - blue chips and masterpieces at mmk with a great bonus _tino segal_ in the old costumes agency hall across the street. a join venture by the mmk and portikus are showing some new works from cattelan. one of the them is _frau c_ outside of the portikus.
in the portikus will be the IT TAKES SOMETHING TO MAKE SOMETHING
THE COLLECTION RAUSCH show. portikus



the pense sauvage - in the frankfurter kunstverein.

a. r. penk in the schirn - with john bock as bonus as well.

julia oschatz - hermitage heritage at anita beckers gallery

isabelle fein at parisa kind gallery

DRACULARISING at neue alte brücke

air and site specific installations

an air tunnel or "Plastikluftdurchgang" was constructed to allow the air to go through a home without invade it. that is what
carl palm did at exhibition-space TSCHOPERL in frankfurt. we will have more on that, with carl himself, later on.

to realise this work carl had to remove the windows for the entire time of the installation. that mean britta and klaus, the residents of teh space and producers of the exhibition, must endure the elements. april in germany is know for be a very funny weather month.



carl is back from chine, and here is what here want to say about his site specific work "Plastik Luft Durch Gang"

"Plastik Luft Durch Gang" has its starting point in a sculpture, constructed out of plastic foil, metal strings and screws, forming and following the measures of the two connected window, sized down in three steps thru the possibilities and physio- practical restrictions of the apartment, the inhabitants living conditions and a special care for the air.

I thought of the construction as a possibility for the air to transport thru the building in both directions without mixing with the air from the inside. I like the thought of separating something un- separable, dreamlike, magical thought or feelings giving you the sense of something impossible and awkward. Constructed with partly raw material and in some cases in a brutal way. The installation takes over almost the hole space/ apartment and suggests the visitors to move around and under it if they want to experience its total size or function.

A note on the two doors leading out of the apartment told people to keep the doors closed to enhance the fact of separation of air which created a super warm, low oxygen- leveled space with torture like beautiful sights and sound of the fresh air flowing freely thru the passage, from one window to the other without helping anybody on the inside with the air they needed.

how artists are dealing with the real war and the media war

at dictionaryofwar.org we can watch a video with dan perjovsch showing how he deals with the media and the war.

he just start or finished a project in the moma called_ what happened to US. i been asking myself that question for a quite while.

gazira babeli solo exhibition at odyssey in sl

this is the first exhibition of gazira babeli in second life, she was borned in sl last year. all the information and details about the exhibition are at hand in sl.

to see the exhibition go to ( remember that to see or experience anything in second life you must be a resident).
odyssey

here a review in german at kunst-blog

we will miss sol lewitt, that for sure

some nice thing written about an excellent artists

04/12/2007 - countytimes.com

Sol LeWitt, a Modern Master, Left a Vibrant Mark on the County

By: Nancy Barnes

"Actually, [artist] Eva Hesse, she introduced me to Sol," said sculptor and Roxbury resident Tom Doyle Monday of his 55-year friendship with Sol LeWitt, as the recent death of the art world giant elicited memories from the Connecticut native's Litchfield County associates, both old and new.

"He was very comfortable. He was very self-possessed and self-assured. He was very, very self-assured," Mr. Doyle said of Mr. LeWitt. "It was never cold. I never felt he was cold. It was not over-intellectualized. It was not confrontational. It was very understandable," he said of a body of work that remains inextricably intertwined with serial, repetitive minimalist art and the conceptualist art that, in short order, flourished.

At mid-career, Mr. LeWitt introduced printer's ink colors into his geometric schemes. Subsequently, the waves and grids that covered walls and Mr. LeWitt's more modestly sized goauches gained their palette from the basic hues of reds, yellows, blues and also black.

Born in Hartford, Mr. LeWitt, who died last Sunday at age 78 in New York from cancer, grew up in New Britain. While spending his later years at his home in Chester, he exhibited at the New Arts Gallery in Litchfield.

"'You have to see the new Sol LeWitt exhibition. It's phenomenal. There are 30 new works in this show,'" Tony Carretta, who owns the New Arts Gallery, has recalled a visitor to Litchfield County as saying. The exhortation, he continued, was met with, "Where is it, at the Met or MOMA? The reply was 'No, it's ten minutes from here, across from the Bunnell's Farm at New Arts Gallery.'"

"His whole philosophy was, the concept was more important than the actual thing," said Mr. Carretta, who noted Monday he had invited Mr. LeWitt to do the show that elicited the visitor's response with its 30 gouaches and models for large, site-specific structures. Mr. LeWitt also participated in some of Mr. Carretta's group shows, among them his highly touted exhibition on drawing.

"To me, he was part of the last generation of modern masters. Those were the guys that made an impact in the art world in our age. They had a very definite direction that they were exploring, and it changed the whole dynamics of the art world. Since then, it's kind of been a regurgitation of what came before. ... They were young artists that were coming through that were redefining what art was. They were all part of the same circle," he said, thinking back to the Abstract-Expressionists who put America on top of the heap in the art world in the 1950s, with American Pop and then minimalist and conceptualist artists like Mr. LeWitt following.

Mr. Carretta described Mr. LeWitt as a "pretty down-to-earth, regular guy. You would not know if you met him his stature in the art world. When we did go to lunch, he usually talked about his kids. He was a regular guy."

Mr. Doyle met Mr. LeWitt in the early 1960s when Mr. LeWitt was working on his acclaimed "Muybridge Series," works that were named after the British photographer Eadweard Muybridge, who studied sequence and motion. He recalled the work schedule the young artist, who then worked as a night receptionist at the Museum of Modern Art, maintained.

Up at 5 a.m., according to Mr. Doyle, he would work until noon, and then make his way up to MOMA, visiting different people.

"I used to get him to help me do things," said Mr. Doyle, who observed that persons have traveled to Europe to avoid helping him move. "I think he helped us move when we moved from Fifth Avenue to the Bowery. That was a marathon," said the sculptor, whose large, stretching works require heavy tools.

Mr. LeWitt went to Europe after earning his Bachelor of Fine Arts degree from Syracuse University. There, he saw works by the Old Masters. Living in Italy in the 1980s, color began to infuse his works-among them, pieces in an exhibition Mr. Doyle saw in Amsterdam.

"These were Piero della Francesca colors," Mr. Doyle said, referring to the Early Renaissance painter who loved geometry and to whose palette, he said, Mr. LeWitt gave an Umbrian cast. "[Mr. LeWitt] transported the rooms by the way he used the forms. It wasn't drastic or upsetting. It was very beautiful," he said of an artist whose early structures were created of white enamel and whose wall drawings, of which 1,200 were executed during his lifetime, extended across surfaces primarily in graphite and white.

"Once he was able to move from minimalism and keep his center, it wasn't like a big jump," said Mr. Doyle of Mr. LeWitt's capacity to maintain one sensibility throughout his long career.

According to Mr. Doyle, however, Mr. LeWitt's private collection was eclectic. "It was very universal. It was what he liked."

Among Mr. LeWitt's last major exhibitions was one organized by the Wadsworth Atheneum Museum of Art in Hartford entitled "Incomplete Cubes," in which 122 aluminum cubes were placed throughout the museum's permanent collection, as well as a retrospective organized by the San Francisco Museum of Art that traveled to the Museum of Contemporary Art in Chicago as well as the Whitney Museum of American Art in New York.

"He was very unassuming. He had a great internal presence. He had a very calming effect on people. He was very stable and trustworthy," said Mr. Doyle, who also praised Mr. LeWitt's generosity. "I'll miss him a lot."

how about criticise art while making fun of your own teacher

michael eddy and a friend made a whole exercise on that with really good drowings as result. what you think? this type of criticism works today. some how the results are really funny but with serious food for thought as well. but could it be contra- productive? or not a good idea? in a time where everybody is kissing asses in the art bussiness world.

sound grabbing

for sounds and more sounds
talk with riccardo mantelli but anyway he is coming in your way in rl and sl.
i came across riccardo in second life, and i can tell one thing, his sounds are coming strong in different ways
visually and audible. grabb it in his website www.riccardomantelli.com.

"to slide away from visuals and get deeper."

david hammoms attack again, check this village voice article by jerry saltz on davi's new show at L & M Arts in new york.

At L & M, Hammons adds his considerable feel for absence. Over the last 40 years this artist has made installations that entailed leaving a lot of galleries empty or semi-empty, notably the gigantic Ace Gallery in New York, which in 2002 he cast in total darkness, providing tiny blue flashlights with which to navigate, or his 1998 installation at the Kunsthalle in Bern that entailed a bluish light and the music of Miles Davis, John Coltrane, Charlie Parker, among others. Hammons has said that he wants "to slide away from visuals and get deeper." At L & M, not only does Hammons do this; along the way he conjures thoughts of shamanism, politics, consumerism, animism, genre painting, animal rights, and jokes. Here, we're treated to a sensibility as barbed, serious, maybe fearsome, and as passionate as any in the art world.

read the resst of the article here
http://www.villagevoice.com/art/0710,saltz,75946,13.html