Contemporary Art Daily, October 13, 2012

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Contemporary Art Daily, October 13, 2012

VARIOUS SMALL FIRES at 1212 Abbot Kinney Boulevard, Venice Beach,VARIOUS CA 90291 SMALL www.vsf.la FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 “Group Show at Moscow Museum of Modern Art,” Contemporary Art Daily, October 13, 2012. “Group Show at Moscow Museum of Modern Art,” Contemporary Art Daily, October 13, 2012, page 1 of 2. Group Show at Moscow Museum of Modern Art Images courtesy of Moscow Museum of Modern Art, Moscow Artists: Viktor Alimpiev, Antoine Catala, Keren Cytter, Simon Denny, Shannon Ebner, Alexandra Galkina, David Ter-Oganyan, Boris Groys, Karl Holmqvist, Sanya Kantarovsky, Liz Magic Laser, Shana Lutker, Tobias Madison, Dafna Maimon, Laura Owens, Anna Parkina, Chadwick Rantanen, Asha Schechter, Stas Shuripa, Frances Stark, Sasha Suhareva, Anya Titova Curators: Sanya Kantarovsky, Stas Shuripa Venue: Moscow Museum of Modern Art, Moscow Exhibition Title: Things, Words and Consequences Date: September 15 – October 14, 2012 Press Release: The exhibition “Things, Words and Consequences” brings together an international group of artists whose works encompass video and film, sculpture, painting, performance and installation. The constellation of approaches in the exhibition hinges on a concern with the role, status and nature of language in the current conditions of global digital communication. Languages, or, in a broader sense, sign systems – capable of perpetually producing meanings, manifest themselves in varying forms. Language is ubiquitous, constantly producing and regulating human relationships, ideas and emotions that constitute reality. A consideration of language is only possible at a distance, where speech would reveal its social conventions. VARIOUS SMALL FIRES 812 N HIGHLAND AVE LOS ANGELES 90038 VSF [email protected] / 310.426.8040 VARIOUS SMALL FIRES at 1212 Abbot Kinney Boulevard, Venice Beach, CA 90291 www.vsf.la “Group Show at Moscow Museum of Modern Art,” Contemporary Art Daily, October 13, 2012, page 1 of 2. In effect, every artwork in the exhibition can be viewed as a research of marginal instances of communication: speech disorders, muteness, allusion, indirect or implicit significations. In the current day, when discourses are produced on a mass scale, local art practices and schools have joined the global media-sphere. Their common ambition is to seek new perspectives from where images of the present, described with conventional language, can be revealed as incomplete, paradoxical and fraught with unpredictable consequences. .

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Anna Parkina
ANNA PARKINA Born in 1979, Moscow, Russia Lives and works in Moscow, Russia SOLO EXHIBITIONS 2012 LVMH Space, Brussels Sivit Gallery, Prague 2011 For a Black Day, Ribordy Contemporary, Geneva, Switzerland San Francisco Museum of Modern Art, USA 2010 Egg in the Fist, Wilkinson Gallery, London, UK The ticket is for today, Focal Point Gallery, Southend-on- Sea, UK Nests, Gladstone Gallery, New York, USA 2009 Open Space, Art Cologne, Cologne, Germany Silent Corner of Field, GMG Gallery, Moscow, Russia 2008 White Time, COMA, Berlin, Germany Winners and Witness, Wilkinson Gallery, London, UK Winners and Witness, Autocenter, Berlin, Germany 2007 Pocket Chrystal, Kjubh, Cologne, Germany 2006 Corn Rush the movie II- Dark Room, Haswellediger & Co. Gallery, NY, USA 2005 Zapovednik, Exhibition and book presentation, Galerie Meerettich, Berlin, Germany 2004 Hier geht’s raus, Golden Pudel, Hamburg, Germany GROUP EXHIBITIONS 2012 Gaiety Is The Most Outstanding Feature of the Soviet Union, Saatchi Gallery, London WWW.SAATCHIGALLERY.COM ANNA PARKINA Chambres à part VI, curated by Laurence Dreyfus, La Réserve, Paris Things, Words and Consequences, Moscow Museum of Modern Art, Moscow 2011 Modernikon: Contemporary Art from Russia, Fondazione Sandretto Re Rebaudengo, Turin Italy; Casa dei Tre Oci, Venice, Italy 2010 East Bound, with Goshka Macuga, Marketa Othova and Jan Mancuska, KAI 10 Raum Für Kunst, Dusseldorf, Germany 2009 Really ? Russian postpostmodernist artists, 3rd Moscow Biennale of Contemporary Art, Parallel program, Artplay-on-Yauza Design Centre,
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BIO Andrew Gilbert Born 1980, Edinburgh, Scotland. Lives And
BIO Andrew Gilbert Born 1980, Edinburgh, Scotland. Lives and works in Berlin Education 1997 - 2002: M.A: (Hons) Fine Art - University of Edinburgh and Edinburgh College of Art Solo Exhibitions (selection) 2019 The Royal Botanical Drawings of Emperor Andrew, Ten Haaf Projects, Amsterdam 2018 The Glorious Opening of Emperor Andrew's Museum, Sperling, Munich Andrew Gilbert solo presentation, Sunday Fair, London, with Sperling Und willst du nicht mein Brueder sein, so schlag ich dir den Schaedel ein - with Martin Neumeier, Botschaft, Berlin 2017 Andrew Gilbert and Sam Durant, Last Tango, Zurich The Sun Will Never Set on the British Empire - The Beast Awakens, Ten Haaf Projects, Amsterdam Andrew's Glorious Occupation of Exotic Bavaria, Filsers, Mainburg Into the Valley of Death - Rode the Six Hundred, Galerie Kai Erdmann, Hamburg 2016 Solo Presentation, ABC Kunst Messe, Berlin, with Sperling Shaka Zulu the Musical - Directed by Andrew, Sperling, Munich Ulundi Is Jerusalem Andrew Is Emperor Brocoli Is Holy, Overbeck - Gesellschaft Museum / St Petri Kirche, Luebeck Emperor Andrew Meets His Waterloo, Superdeals, Brussels 2015 Trophies of the Savages - Idols of Civilisation, Blank Projects, Cape Town, South Africa The Life of Baby Afghan Squirrel, Sperling, Munich European Tribal War Idols, Waterloo 1815, Gallery Polad - Hardouin, Paris Je suis...Brocoli!, Jagla Ausstellungsraum, Koeln Andrew's Exotic and Erotic Massage Parlour, Sightfenster, Koeln 2014 Fiori e Soldati - with M. Galliani, Studio d'Arte Raffaelli, Trento Sacred Soil and Bloody Ground,
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San Francisco Museum of Modern Art Presents Richard Aldrich's First Solo Museum Show
artdaily.org Tuesday, January 10, 2012 San Francisco Museum of Modern Art Presents Richard Aldrich's First Solo Museum Show Richard Aldrich, Untitled, 2010; oil and wax on panel; 15 x 11 in.; collection of Amy and Harris Schwalb; © Richard Aldrich. Images courtesy Bortolami Gallery, New York, New York. SAN FRANCISCO, CA.- Through March 25, 2012, the San Francisco Museum of Modern Art presents New Work: Richard Aldrich, the first museum exhibition to feature work exclusively by Richard Aldrich. The presentation brings together an array of new paintings by the New York–based artist anchored by a selection of earlier pieces that show the diversity of his work and the expansive possibilities of painting itself. Organized by Gary Garrels, SFMOMA Elise S. Haas Senior Curator of Painting and Sculpture, the exhibition continues the museum's New Work series dedicated to featuring the most innovative expressions of contemporary art. Aldrich pursues an open-ended exploration of painting and uses its fundamental elements—canvas, stretcher bars, paint—to interrogate and celebrate the intellectual and sensual conundrums of the art form. Deeply aware of the historical precedents of abstract painting, he sometimes evokes images and memories, while at other times uses the elements of painting to their own ends. Inherent throughout his work are issues of perception and understanding, explorations of the immediacy of the present moment grounded in language and past experience. The presentation at SFMOMA includes some 14 works of both small, intimate panels and larger canvases that range from resolutely abstract to hints of representation, minimalist to richly colorful and painterly.
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Le Nouveau Festival Du Centre Pompidou
EXPOSITIONS, SPECTACLES, CINÉMA, CONFÉRENCES ET PERFORMANCES 20 FÉVRIER - 11 MARS 2013 LE NOUVEAU FESTIVAL DU CENTRE POMPIDOU SOMMAIRE LE NOUVEAU FESTIVAL DU CENTRE POMPIDOU KHHHHHHH LA CLAIRIÈRE Langues imaginaires et inventées, Une proposition de Fanny de Chaillé une proposition de Bernard Blistène, et de Nadia Lauro QUATRIÈME ÉDITION Mica Gherghescu, JeanCharles Hameau et Mélanie Lerat (ESPACE 315) P 2225 (GALERIE SUD, PETITE SALLE) Le Nouveau festival a désormais quatre ans et démontre, cette fois P 47 BOOK MACHINE (PARIS) encore, sa capacité à se renouveler et à faire bouger les lignes Une proposition de Christophe Boutin, WUHS DIS NOW? Mélanie Scarciglia et Patrick Javault de la création artistique. Langues imaginaires et inventées au cinéma, une proposition (FORUM 1, PETITE SALLE, CINÉMA 2) P 2629 Quelque cent invités vont se retrouver au fil de trois semaines que nous de Judith Revault d’Allonnes souhaitons intenses et riches de découvertes. Pluridisciplinaire (GALERIE SUD, CINÉMA 1) SPECTACLE VIVANT P 811 Danse, musique, théâtre et fort d’avoir su se construire des fondamentaux du Centre et performance Pompidou, le Nouveau festival est désormais un rendezvous essentiel KOBAÏEN et généreux, inventif et prospectif. Il s’attache à nous proposer Musique et langues imaginaires, (GRANDE SALLE) P 3031 une proposition de Céline Chouffot, des formes inédites. Il est à l’écoute de celles et ceux qui s’attachent Sara Dufour et Delphine Le Gatt JEUNE PUBLIC / MÉDIATION à renouveler les modes d’expression et à élargir la perception (GALERIE SUD) P 3233 des arts visuels du temps présent. P 1213 AGENDA TELL ME… , GUY DE COINTET P 3437 Je l’ai souhaité ainsi afin de réaffirmer les valeurs essentielles Une proposition de Sophie Duplaix du Centre Pompidou, un lieu que son créateur rêvait d’attacher et Didier Schulmann ABSTRACT P 38 aux différents aspects de la création, sensible à l’histoire (GALERIE SUD, GRANDE SALLE) et constamment prospectif.
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Anna Parkina “Nests” Project Space 530 West 21St Street March 5 Through April 10, 2010
FOR IMMEDIATE RELEASE Anna Parkina “Nests” Project Space 530 West 21st Street March 5 through April 10, 2010 Gladstone Gallery is pleased to announce an exhibition by Anna Parkina in the project space. Born in Moscow in 1979, Parkina’s work encompasses a variety of media, including collage, sculpture, and performance. In both her works in two and three dimensions, Parkina configures space as a subjective site simultaneously merging images and forms into a composite region. As Kim West writes in the catalogue for 2009 Venice Biennale, where Parkina’s work was included in the Italian Pavilion, the work achieves “striking visual effects by folding shapes and buildings, patterns and objects, silhouettes and contours into and out of one another, creating a layered, equivocal surface that may call to mind the impossible constructions and perspectives of Escher or perhaps even the treacherous images of Magritte.” For the new body of work on view, entitled “Nests,” Parkina combines collage, watercolor and lithography. Her works are often rooted in the language of Soviet era montage and as such seek to overlap space “both mental and physical” in such a way as to create new and charged landscapes. Works like “Pendulum on the fourth floor“ in which Parkina superimposes fragments of her face over an image of that most ominous of Soviet Era icons, the super apartment block, exemplify this phenomenon. As Parkina herself says, the viewer may “recognize shapes and details which are totally independent, but [at] the same time it is impossible to separate one detail from the rest as there is almost organic fusion inside of the picture.“ Anna Parkina was born in 1979 and lives and works in Moscow.
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Culloden, 1746
Andrew Gilbert Colonial Exhibition - Culloden 1746 Galerie Kai Erdmann April 16th, 1746 Drumossie Moor, Culloden Battlefield (4.5 miles from Inverness in the Scottish Highlands) 12.30pm. The first Jacobite cannon fire and over-shoot the Government army, cutting one British soldier in half, the only casualty they inflict. Within 9 minutes the Jacobite artillery manned by Highlan- ders, with no previous experience and a mathematical instrument-maker from Edinburgh as Master of Ordinance, are silenced by the expert British Artillery. The battle begins. In one hour and eight minutes by bayonet, musket fire, round shot and grape shot the Highland Clansmen, armed with bull skin shields and claymores, are reduced to „twitching limbless corpses“(from the film ‘Culloden’ by Peter Watkins, 1964). ----------------------------------------------- Culloden The last battle to be fought on British soil. The most mishandled and brutal battles ever fought in Britain. The end of the Jacobite Rebellion. After the battle the Scottish Highlands witness the worse atrocities in the history of the British Army. ----------------------------------------------- In the ‘Colonial Exhibition: Culloden 1746’, the artist Andrew Gilbert presents a tableaux and series of new drawings in the tradition of a Military Museum, exploring this epic and blood dren- ched historical event. According to John Prebble in his book ‘Culloden’, 1961, the British soldiers in the battle viewed the Jacobite army with „no more kinship than an officer of Victoria‘s army would later feel when surveying a Zulu Impi“ As Peter Watkins in his 1964 film sought to draw parallels with the Culloden battle and American atrocities in Vietnam, the artist, who first visited Culloden battlefield as a child , creates an installation in the manner of the Colonial Exhibition of the 19th Century, where ‘exotic’ or ‘primitive people’ were exhibited for the entertainment of ‚civilised‘ European audiences (as in Hagenbecks exhibition park, Hamburg 1875).
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New 235 Bowery New York Ny 10002 Usa Museum VOL
VOL. 14 PAPERSPRING/SUMMER 2013 NEW 235 BOWERY NEW YORK NY 10002 USA MUSEUM VOL. 14 | PAPER Director’s Letter he New Museum has always been a forward-looking institution. We These two programs—Seven on Seven and IDEAS CITY—are em- support artists who are responding to a changing world and envi- blematic of the way the Museum is bringing cross-disciplinary commu- sioningT the future. We also continue to probe the possibilities of how mu- nities together to cultivate new art and new ideas. The New Museum is seums can evolve to serve the demands of new audiences in a dramatically a true cultural center and incubator that extends way beyond bricks and shifting world. How can we continue to be vital community hubs, vibrant mortar through our web programs, festivals, think tanks, and residencies. education centers, catalysts for invention, and providers of transforma- As we embrace the present and look toward the future, sometimes tive experiences? we look back to better understand the present. Our current exhibition, In recent weeks, we have demonstrated how far the Museum stretches “NYC 1993: Experimental Jet Set, Trash and No Star” reviews a year to advance our mission and think towards the future. First, Rhizome's in New York twenty years ago, a time with incredible resonance today. It Seven on Seven Conference—where top technologists are paired with has attracted a big audience, press attention, and most importantly, a lot leading artists to create new works in twenty-four hours—was a stunning of conversation. I hope you all have the opportunity to see the exhibition example of how the Museum brings diverse talent together to share ideas before it closes on May 26! Following 1993, we have two solo exhibitions: and generate new works.
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New Work: Anna Parkina
New Work: Anna Parkina San Francisco Museum of Modern Art www.sfmoma.org Negative of Assembly Foam, 2010. Oil on canvas, 23 5/8 x 27 9/16 in. (60 x 70 cm) New Work: Anna Parkina February 25–June 19, 2011 At thirty-one, Anna Parkina is one of a group of younger Russian artists “I like to adopt this metaphor of circulation to my way of life and my approximation of the Russian word, but it has the advantage of explaining collages, that temporal lag between vision and knowledge is the means by occur to the viewer like imagery from a dream. Yet the viewer is awake, and Anna Parkina (b. 1979) is based in Moscow. She grew up first under the Soviet Union, witnessed the end of the Cold War, and experienced the social transformations of post-Soviet who have made names for themselves in international exhibitions, but natural interest in collage, which may be often considered as a ‘non the way an image can actively undermine one’s perceptions, to make the which the works achieve a kind of “kinetic resolution,” to employ Vertov’s the images are the visual symbols of a society in flux. Parkina’s symbols are Russia. She began to study art at age twelve and later attended university in Paris, at who are not well known to viewers in the United States. Her work evokes contemporary’ medium.”1 world become strange. This form of defamiliarization mirrored the histor- terminology. The irony is that, unlike film, Parkina’s images are still, and yet universal, if historical, and they remind us that change and repetition are Université de Paris 8 and then at the École des Beaux-Arts.
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UN GENIO De CONSTANCIA BÍBLICA
LaPERIÓDICO mensual DE PaneraArte Y Cultura I marzo 2013 36 Distribución gratuita Arte Ruso En código actual SAATCHI BOWIE EL MEMORIOSO SUPERMAN ENFRENTA SUS CONFLICTOS Claudio Correa CUESTIONA LA REPÚBLICA ALLEN UN GENIO DE CONSTANCIA BÍBLICA El artista neoyorquino accede por primera vez a que una cámara capte el día a día de su fecundo proceso creativo. IONES R IO B IO R ROSA Sin título-2 2 31-05-12 18:21 La Panera Artes Visuales 4 Gauguin, el iniciador del canon exótico 8 Mark Lombardi y sus intentos de hacer orden del caos 12 Taco alto, una moda creada por los hombres 13 ¡Mi trono por una cama! Cine 18 Premio Oscar, el NO es la regla Ópera 20 Francesca da Rimini vuelve al MET Música 24 Trío Sagare, cuando menos es más Libros 28 Making-of de la Novela Gráfica 2013 30 J.K. Rowling, sólo para adultos 32 La columna de Lina Meruane 33 Paul Auster y J.M. Coetze, complicidad literaria 34 Leer, un placer inagotable 36 Efecto Homeostasis, necesario viaje interno Gestión Cultural En silencio, Bowie 42 Chilena pionera en Estocolmo se encerró con el productor Tony Observatorio Visconti en Nueva 44 La columna de Miguel Laborde York a grabar canciones, en un Tecnología proceso que de- 46 La columna de Edison Otero mandó dos años. ATINSTOCK L 47 Agenda nacional e internacional PERIÓDICO MENSUAL DE ARTE Y CULTURA LA PANERA se distribuye en todo Chile, y también en el extranjero EDITADO POR LA CORPORACIÓN CULTURAL ARTE+ (embajadas, agregadurías culturales, consulados y otros) con el [email protected] Patrocinio de la Dirección de Asuntos Culturales del Ministerio de Relaciones Exteriores (Dirac).
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Anna Parkina
ANNA PARKINA 1979 Born in Moscow, Russia Lives and works in Moscow Training 2005 MFA, Art Center College of Art and Design, Pasadena, CA, USA 2002-2006 École des Beaux-Arts, Paris, France 1998-2002 Université Paris 8, Paris, France Solo Exhibitions 2011 San Francisco Museum of Modern Art, USA 2010 Egg in the Fist, Wilkinson Gallery, London, UK The ticket is for today, Focal Point Gallery, Southend-on-Sea, UK Nests, Gladstone Gallery, New York, USA 2009 Open Space, Art Cologne, Cologne, Germany Silent Corner of Field, GMG Gallery, Moscow, Russia 2008 White Time, COMA, Berlin, Germany Winners and Witness, Wilkinson Gallery, London, UK Winners and Witness, Autocenter, Berlin, Germany 2007 Pocket Chrystal, Kjubh, Cologne, Germany 2006 Corn Rush the movie II- Dark Room, Haswellediger & Co. Gallery, NY, USA 2005 Zapovednik, Exhibition and book presentation, Galerie Meerettich, Berlin, Germany 2004 Hier geht’s raus, Golden Pudel, Hamburg, Germany Selected Group Exhibitions 2011 East Ex East, Brand New Gallery Milan, Italy 2011-2010 Modernikon: Contemporary Art from Russia, Fondazione Sandretto Re Rebaudengo, Turin 2010 East Bound, with Goshka Macuga, Marketa Othova and Jan Mancuska, KAI 10 Raum Für Kunst, Dusseldorf, Germany 2009 Really ? Russian postpostmodernist artists, 3rd Moscow Biennale of Contemporary Art, Parallel Making Worlds, curated by Daniel Birnbaum,Venice Biennale, 53rd International Art Exhibition Sound, A virtual sound show, curated by Bozidar Brazda No Capry for an Old Man, Group show on the Venice Beach, LA, USA via Farini
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Andrew Gilbert
ANDREW GILBERT Andrew Gilbert è un artista scozzese, nato nel 1980 a Edinburgo che frequentò la Fine Art - University of Edinburgh e l'Edinburgh College of Art. Egli interpreta in modo satirico la storia del colonialismo europeo. Creando sculture, dipinti e media misti, le opere di Gilbert sovvertono e satireggiano vari aspetti della cultura britannica, in particolare il riferimento alla tribù africana Zulu, che divenne un'ossessione per l'artista in giovane età. Le opere di Gilbert evocano la sua immaginazione fantasiosa in uno stile finto-naif. Il lavoro di Gilbert è stato esposto in numerose mostre personali tra cui il Gesellschaft Museum, Luebeck, SPERLING, Monaco, Blank Projects, Città del Capo, Sudafrica, Galleria Polad-Hardouin, Parigi, Galerie Kai Erdmann, Amburgo, Museo militare Forte Strino, Italia, Dieci progetti di Haaf, Amsterdam, Galleria Polad Hardouin, Parigi, Galerie Andreas Hoehne, Monaco e Galerie Eva Bracke, Berlino, tra gli altri. Andrew Gilbert is a Scottish artist, born in 1980 in Edinburgh. He attended the Fine Art - University of Edinburgh and the Edinburgh College of Art. In his paintings, he satirically reinterprets the history of European colonialism. Creating sculptures, paintings and mixed media, Gilbert’s work subverts and satirizes various aspects of British culture, in particular referring to the African Zulu tribe, which became an obsession for the artist at a young age. Gilbert’s works evoke his fanciful imagination in a faux-naive style. They were shown in many solo exhibitions including Gesellschaft Museum, Luebeck; SPERLING, Munich; Blank Projects, Cape Town, South Africa; Gallery Polad-Hardouin, Paris; Galerie Kai Erdmann, Hamburg; Forte Strino Military Museum, Italy; Ten Haaf Projects, Amsterdam; Gallery Polad Hardouin, Paris; Galerie Andreas Hoehne, Munich; and Galerie Eva Bracke, Berlin, among others.
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