Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V.U. Jan Mot januari – maart – mei – Antoine Dansaertstraat 190 augustus – oktober 1000 Brussel No. 74, oktober 2010 Erkenningsnummer P309573 98 – 99 Jaargang 14 No. 74

Central to her work has been En het hetzelfde met een foto The prints happen the same a keen focus on the temporal van Pierre Bismuth. way but in reverse, with dimensions of portraiture, de- ink or the resistance of ink.

• Vija Celmins, Starfield, 2010, 1-color mezzotint, 67,3 x 90,8 cm (detail, 1:2) 2 Newspaper Jan Mot Bookcase 98 – 99 3 Newspaper Jan Mot Stars 98 – 99

A year after Louise’s death, Victoria and Al- When did this stern man, who fled society (advertisement) bert invited Leopold – who was then sixteen and whose sole mistress was politics, become Small Wonder : Vija Celmins – to come to as a distraction from a socialite who visited Parisian cabarets and his grief and visit the Great Exhibition of had countless adventures, as well as at least 1851, held in the famous Crystal Palace. It two long-term relationships? It is only after by doing things to the best of our ability—not as was in this vast hall, four times larger than the turn of the century – when he was 65 – Joe Scanlan a way to master the universe but as a way to the basilica of Saint Peter’s in Rome, that he that we find any written material about this coexist in it. Practically, philosophically and discovered the world. That visit saw the be- subject. At the time, the King was mainly ac- , 11 OCT emotionally, Celmins’ pictures are made for ginning of his “dream of stone” and his ob- tive in his dealings with China; he was also reasons beyond the express purpose of being 98 session with giving his country a colony. He busy with urban developments in Belgium. Fourteen years ago, an amateur astronomer looked at. Exhibition Opening shared this “palace” with Karl Marx who, Of course, it is possible, even likely, that earli- named Yuki Hyakutake in Kagoshima Pre- Exemplary in this regard are her prints 30/10 – 4/12 30/10 14–19h after Brussels and , had found refuge er amorous activities may have been well hid- fecture, Japan, spotted an uncharted bright and drawings of night skies. Most of them in London, and had this to say of his visit: den. But the sudden abundance of scurrilous spot low in the eastern sky. Intrigued, pro- have comets streaking across their view and “Thanks to this exhibition, the international stories, as well as the revealing memoirs of fessional astronomers soon determined all of them are invented. In the drawings she VIJA CELMINS bourgeoisie had built in the modern Rome a his valet Henri Bataille, point to the fact that that what Mr. Hyakutake had seen was an begins by making a blank charcoal ground Pantheon to display, with pride and self-sat- he engaged in frenzied sexual activity at that unknown comet, one that had probably not and then slowly erasing the stars out of it, JOE SCANLAN isfaction, the gods it has created for itself.” advanced age. Did he sublimate his desires passed within earth’s view in 10,000 years, one by one. The prints happen the same way Imagine if they had met at that time! Given for years in his dedication to work, beforen, when Mesolithic people roamed the earth. but in reverse, with ink or the resistance of that the Great Exhibition had six million Although the Mesolithic peoples of the ink. Some stars get worked into crisp points visitors, it is highly unlikely. But that doesn’t middle and far east did not become skilled while others remain nebulous; some stars are RECENT WORKS stop us from wondering about the possible astronomers for another 2,000 years after left faint, far away, and dying while others • Joe Scanlan, Nesting Bookcase, 2010 significance of such a fortuitous encounter. the comet’s last appearance, it is possible are made larger, closer, brighter. prototype of this year’s model, wood, primer, Marx appears in the life of Leopold II at that they noticed the comet—perhaps even Unlike the scientific beauty of Renais- Jan Mot water putty, graphite. three key moments: during the 1848 Revo- enjoyed it and talked about it—after a hard sance drawings, in which the depiction of Rue Antoine Dansaertstraat 190 lution, in 1851 at the Crystal Palace and in day of food-gathering and domesticating the light falling on the surface of an object gives BE-1000 Brussel Bruxelles 1865, the year he came to the throne. What- dog. However, unlike the perceived orbits of it not only form but priority in the natural To the sheer velocity of Vonna-Michell’s ever I tried, whatever money I offered her, the sun, the moon and five planets that came order of things, Celmins’ drawings depict profusion of words can be starkly contrasted she refused point blank. The little chocolate to symbolize the Mesopotamian calendar nothing but pure, emitted light. This is part A year after Louise’s death, Victoria and Al- the exacting sculptural installations of Josef seller was no royalist, nor a chocolate man. week, the comet’s brief appearance 10,014 of what makes starlight so captivating: it’s bert invited Leopold – who was then sixteen Strau. And yet Strau’s works hardly arrest A year after Louise’s death, Victoria and Al- years ago probably thwarted the likelihood strong enough to reach our retinas but too – to come to London as a distraction from the destabilized flow of language, but sus- bert invited Leopold – who was then sixteen of any symbols or names being attributed weak to illuminate anything. Consequently, his grief and visit the Great Exhibition of pends it rather in a distinctly liminal space. – to come to London as a distraction from to it. And so, for the time being, unknown unlike the light depicted in a Renaissance 1851, held in the famous Crystal Palace. It His seemingly ad hoc conjunctions of dense his grief and visit the Great Exhibition of comet number C/1996B2 is now officially image, the light in a Celmins night sky ac- was in this vast hall, four times larger than typed and hand-written texts with lamps 1851, held in the famous Crystal Palace. It known as the Comet Hyakutake. tivates our brains without giving us anything the basilica of Saint Peter’s in Rome, that he function as both word and image, and there- was in this vast hall, four times larger than A lot has happened since then, not least of to contemplate, save our own stimulated discovered the world. That visit saw the be- by place the viewer in a kind of quandary the basilica of Saint Peter’s in Rome, that he which is our ability to drop what we’re do- nerve endings and their impetus, light years ginning of his “dream of stone” and his ob- ing for a few hours and travel to some darker, away. However recognizable Celmins’ night session with giving his country a colony. He more remote region in the hopes of catching skies are as images, it is their affect rather shared this “palace” with Karl Marx who, a glimpse of a fleeting asteroid. We seek out than their subject matter that compels us into after Brussels and Paris, had found refuge such phenomena because our daily lives do them, collapsing time and space into the flat- in London, and had this to say of his visit: not often provide us with the opportunity to ness of paper and the thickness of our heads. “Thanks to this exhibition, the international • Joe Scanlan, An Investigation into the Role of experience such sublime, annihilating coin- And in the space between our faces and the bourgeoisie had built in the modern Rome a the Consumer in the Interpretation of a cidences. Standing beneath such a rare oc- surface of the images: a distance that is won- Pantheon to display, with pride and self-sat- Work of Art (detail), 2005, Nesting Bookcase, currence, visible to the naked eye, the mortal derful, incomprehensible, and all too famil- isfaction, the gods it has created for itself.” C-print, various personal items installation view, anxiety of “Why am I here?” can unwind iar. Imagine if they had met at that time! Given Washington, DC into the more beatific attitude of wondering We are distracted from this aesthetic that the Great Exhibition had six million “What difference does it make?” When the abyss when our eyes inevitably drift to the visitors, it is highly unlikely. But that doesn’t the moon and five planets that came to sym- answer to that question is “none,” or even “a edges of Celmins’ prints and drawings, stop us from wondering about the possible bolize the Mesopotamian calendar week, little,” what harm can their be in continuing where each image dissolves into the same significance of such a fortuitous encounter. the comet’s brief appearance 10,014 years to do whatever it is that we do? smudgy ephemera that collects on the bot- Marx appears in the life of Leopold II at ago probably thwarted the likelihood of The work of Vija Celmins proposes that it tom of our shoes. The closer we look at her three key moments: during the 1848 Revo- any symbols or names being attributed to it. is precisely the flawed, human-scale redun- night skies the more likely our attention gets lution, in 1851 at the Crystal Palace and in And so, for the time being, unknown comet dancy of art that allows us to wrap our arms pushed back out into the room, reminding us 1865, the year he came to the throne. What- number C/1996B2 is now officially known around the imponderable and commemorate of the hand that made the image and of our ever I tried, whatever money I offered her, asn, the moon and five planets that came the mundane. By depicting a desk lamp or bodies standing in space. Looking at them, she refused point blank. The little chocolate to symbolize the Mesopotamian calendar a bowl of matzo ball soup in aggrandizing a fugue-like balance is struck between plea- seller was no royalist, nor a chocolate man. week, the comet’s brief appearance 10,014 terms (i.e. oil on canvas), or rendering the sure and accuracy, between the effect of the A year after Louise’s death, Victoria and Al- years ago probably thwarted the likelihood minutiae of a desert floor in graphite on image and the material that makes it up, be- bert invited Leopold – who was then sixteen of any symbols or names being attributed paper, Celmins calmly puts all human en- tween small wonder and smaller fact. – to come to London as a distraction from to it. And so, for the time being, unknown deavor in its place, including her own. But his grief and visit the Great Exhibition of comet number C/1996B2 is now officially Celmins is no nihilist. Rather, her fine drafts- 1851, held in the famous Crystal Palace. It • Joe Scanlan, An Investigation into the Role of the Consumer in the Interpretation of a Work of Art (detail), known as the late nlike the light depicted in manship and sharp wit also elevate humanity First published in a slightly different form in was in this vast hall, four times larger than 2005, Nesting Bookcase, C-print, various personal items installation view, New Haven, Connecticut a Renaissance image, the light in a Celmins a little, emphasizing the appropriateness of frieze (Summer 1996): 68–69. the basilica of Saint Peter’s in Rome, that he 4 Newspaper Jan Mot Mario Garcia Torres 98 – 99 5 Newspaper Jan Mot Barragán 98 – 99

Flan

Por AnaFlan María Albor

Por Ana María Albor

Ingredientes (Para 4 personas):

2Ingredientes latas de leche (Para condensada 4 personas): Nestlé

12 latalatas de de leche leche evaporada condensada Nestlé

51 latahuevos de leche evaporada

Un5 huevos chorrito de vainilla

AguaUn chorrito (la misma de vainillacantidad que de leche condensada)

4Agua cucharadas (la misma soperas cantidad de azúcar que de leche condensada)

4 pesoscucharadas de queso soperas doble de crema azúcar (150 gramos aproximadamente)

4 pesos de queso doble crema (150 gramos aproximadamente)

Preparación:

PonerPreparación: los huevos, la leche condensada, la vainilla, el agua y el doble crema en un recipiente y mezclarlos enérgicamente. Poner los huevos, la leche condensada, la vainilla, el agua y el doble crema en un Porrecipiente otro lado, y mezclarlos se pone enérgicamente.el azúcar en un cazo y se cuece a fuego lento hasta que se deshaga a punto de caramelo. Se vierte el caramelo en un molde y se deja enfriar. Por otro lado, se pone el azúcar en un cazo y se cuece a fuego lento hasta que se Cuandodeshaga ael punto caramelo de caramelo. se ha enfriado Se vierte y ha el endurecido caramelo en se un vierte molde la ymezcla se deja anterior enfriar. en el molde y se pone el vaciado en una bandeja con agua. (Cuide que el agua no Cuandorebase el el molde). caramelo se ha enfriado y ha endurecido se vierte la mezcla anterior en el molde y se pone el vaciado en una bandeja con agua. (Cuide que el agua no Serebase ponen el molde). los dos recipientes en el horno, previamente calentado a 350º, y se cuece la mezcla al Baño María durante 30 minutos aproximadamente. Se ponen los dos recipientes en el horno, previamente calentado a 350º, y se cuece Cuandola mezcla está al Baño cocido María se saca durante del horno 30 minutos y se deja aproximadamente. enfriar a temperatura ambiente para desmoldar. Posteriormente refrigérelo al menos por 2 horas antes de servir. Cuando está cocido se saca del horno y se deja enfriar a temperatura ambiente para desmoldar. Posteriormente refrigérelo al menos por 2 horas antes de servir.

Primer apunte hacia una clasificación gastronómica de la Casa-Estudio Luis Barragán, 2007 Imagen: Vista de la copa de los árboles del jardín de la Casa-Estudio Luis Barragán. Primer apunte hacia una clasificación gastronómica de la Casa-Estudio Luis Barragán, 2007 Imagen: Vista de la copa de los árboles del jardín de la Casa-Estudio Luis Barragán. 6 Newspaper Jan Mot Manon de Boer 98 – 99 7 Newspaper Jan Mot In Brief 98 – 99

B r o o d - Your Way this instal- to the Louisiana Museum of Modern Art, (advertisement) First Institutional Solo Shows t h a e r s ’ IF YOU In- lation con- In Brief Humlebaeck, Denmark (September 2011– abovemen- sist on Rat- sisted of two January 2012). tioned Un ting (1997), slide projec- for Manon de Boer Coup de which fea- tors placed On Saturday October 30, from 2 till 7 pm, The contribution on pages 4–5 by Mario dés jamais tures a se- on the floor, 10 galleries in downtown Brussels open Garcia Torres is entitled Primer apunte n ’ a b o l i r a ries of white projecting a new show. A special map is available at hacia una clasificacion gastronomica de la in the UK and the US le hasard lines on raw small, white the gallery that day or can be emailed on Casa-Estudio Luis Barragan and is part of a (1969) and a linen sug- rectangles request. series of three recipes that originate from the 99 painting by gestive of which are cook of the Mexican architect Luis Barragan. Exhibition Opening Ed Ruscha. suppressed s u p p o s - Joachim Koester is invited by the DIA Art 11/12 – 22/1 11/12 17–20h The Brood- or censored edly the Foundation (NYC) to give a lecture in the London as a distraction from his grief and thaers’ work language, suppressed Artists on Artists Lecture Series. The subject visit the Great Exhibition of 1851, held in consist of B r o o d - records of a is Sol LeWitt. The event takes place on the the famous Crystal Palace. It was in this a facsimile thaers’ ren- former lec- 13th of December (see www.diacenter.org/ vast hall, four times larger than the basilica reproduc- dition has a ture given events) of Saint Peter’s in Rome, that he discovered PIERRE BISMUTH tion of way of lin- by the art- the world. That visit saw the beginning of Mallarmé’s guistically ist. The In an article on artinfo.com gallery artists his “dream of stone” and his obsession with eponymous animating installation Tino Sehgal and Ian Wilson made it into giving his country a colony. He shared this m a s t e r - R u s c h a ’s was outfit- the Top Ten Uncollectible Contemporary “palace” with Karl Marx who, after Brus- LE VERSANT DE piece, here p a i n t - ted with a Artworks. Amongst the other artists are sels and Paris, had found refuge in London, presented ing, while number of Robert Barry and Andy Warhol. See www. and had this to say of his visit: “Thanks to L’ANALYSE in a vit- R u s c h a ’s large cush- artinfo.com/news/ this exhibition, the international bourgeoisie rine along work inevi- ions, upon had built in the modern Rome a Pantheon to the length tably brings which the Vija Celmins who will show a selec- display, with pride and self-satisfaction, the of a wall. to mind viewer was tion of her recent prints in the gallery, will gods it has created for itself.” H owev e r, Mallarmé’s invited to lie have a solo exhibition at Museum Ludwig Imagine if they had met at that time! Given Jan Mot in Brood- white si- down and in Cologne, curated by Julia Friedrich and that the Great Exhibition had six million Rue Antoine Dansaertstraat 190 thaers’ ren- lence. Sym- presumably exclusively dedicated to her printed work visitors, it is highly unlikely. But that doesn’t BE-1000 Brussel Bruxelles dition, all b o l i c a l l y muse over (15/4–17/6). The exhibition will later travel stop us from wondering about the possible of the words sandwiched the missing have been together, the content of barred out two works the alleged l’Antenne, FRAC Ile-de-France/Le Plateau, A History of Modern Photography, MoMA by a black would seem lecture. Al- Agenda Paris, 8/12 – 14/1; Le Versant de l’Analyse, Museum of Modern Art, New York, 7/5 • Manon de Boer, Think about Wood, Think about Metal, 2011, 16 mm film transferred to line, as if to cancel though the Jan Mot, Brussels, 11/12 – 22/1 (solo); Bild – 21/3; Between Here and There: Disloca- digibetacam + HDVcam, colour, sound, approx. 45 minutes (film still) indiscrimi- each other work was für Bild – Film und zeitgenössische Kunst, tion and Displacement in Contemporary nately cen- out. And not without Sven Augustijnen aus der Sammlung des Centre Pompidou, Photography, Metropolitan Museum of Art, BRUSSELS, 12 OCT While for the Contemporary Art Museum sored. This yet, in both blank-page Johan – François, Psychiatrisch Centrum, Museum am Ostwall, (DE), from New York, 2/7 – 13/2; Taking Place, The in St. Louis the works are orchestrated side- work under- cases, lan- associations Duffel (BE), 5/9 – 10/11; Tegenlicht, SMAK, December; Exhibitions, Centre Pompidou, Temporary Stedelijk, Amsterdam, 28/8 – Manon de Boer has crafted a unique and by-side in an ambitious installation, the lines Mal- guage ir- (imported Ghent (BE), 11/9 – 21/11; A.B.C. - Art Belge Metz (FR), 12/1 (performance) 9/1; A Touch of Dutch, DZ Bank, Frankfurt influential cinematic language that for over exhibition in London is conceived as a par- larmé’s spa- repressibly from the Contemporain, Le Fresnoy, Tourcoing (FR), am Main (DE), 28/9 – 4/12; Portraits and a decade has been defined by narratives of cour through the new galleries of the South tialization asserted it- context of 9/10 – 31/12; Cities Under the Gaze, Murcia Manon de Boer Power, Palazzo Strozzi, Florence (IT), 1/10 time, memory, and the relationship between London Gallery, where each film occupies a of language, self with its the exhibi- (ES), 14/10 – 31/12 Trust, Media City Seoul 2010, Seoul Mu- – 23/1 The Krazy House, De Hallen, Haar- sound and image. Central to her work has single space in order to accentuate the view- using a insistence tion), it led seum of Art, Seoul, 7/9 – 17/11; There is Al- lem (NL), 18/12 – 13/3 (solo); Realismus been a keen focus on the temporal dimen- er’s intimacy with the work. The display in method as to be if not the mind Pierre Bismuth ways a Cup of Sea to Sail In, 29th Sao Paulo - Das Abentuer der Wirklichkeit - Courbet sions of portraiture, depicting friends, writ- London responds to the architecture of the simple as heard, then less toward Seconde Main, Musée d’art moderne de la Biennial, Sao Paulo (BR), 25/9 – 12/12; Blitz - Hopper - Gursky, Kunsthalle Emden, Em- ers, dancers, composers, and musicians on spaces, abandoning the projection booth in suppression seen despite the firing of ville de Paris, 1/3 – 23/10; Chefs d’œuvre?, & Donner, COCO, Vienna, 12/10 – 14/11, den (DE), 23/1 – 24/5; Heroines, Museum film to subtly capture the nature of memory favour of projection in an open, bare gallery. to disclose its absence. any linguis- Centre Pompidou, Metz (FR), 12/5 – 17/1; 25/11 – 12/12; Publics and Counterpublics, Thyssen-Bornemisza, , 8/3 – 5/6 and the passage of time. And yet, alongside The exhibition is complemented by a series its optical Not too tic synapses Yesterday Will Be Better, Taking Memory Centro Andaluz de Arte Contemporaneo, documentarian strain that threads through of screenings of her longer lengths films, in- heft, and as far from than to a Into the Future, Aargauer Kunsthaus, Aar- Sevilla (ES), 28/10 – 6/3; Sylvia Kristel Mario Garcia Torres her work, De Boer has also reconceived the cluding the premiere of Think about Wood, such, the these works contempla- gau (CH), 21/8 – 7/11; Exhibition, exhibition – Paris, Shift Festival, Basel (CH), 29/10 Seconde Main, Musée d’art moderne de la structures of sound and musical composition Think about Metal, (2011) about percussion- 19th cen- could be tion of its el- / Mostra, mostra, Castello di Rivoli, Rivoli (screening); Manon de Boer, South London ville de Paris, 1/3 – 23/10; Chefs d’œuvre?, to explore how they transform cinematic ist Robyn Schulkowsky (January 5, 7pm - tury poet’s found Ryan egant pres- (IT), 21/9 – 9/1; The Last Newspaper, New Gallery, London, 2/12 – 23/1 (solo); Think Centre Pompidou, Metz (FR), 12/5 – 17/1; perception. For De Boer’s first solo exhibi- followed by a discussion between the artist plastic re- G a n d e r ’s entation. Its Museum, New York, 3/10 – 9/1; A.B.C. - Art about Wood, Think about Metal, A.B.C. - Art Model Kits, Thinking Latin America from the tion in an American museum, the Contem- and critic Lars Bang Larsen) lationship Travelogue v o i d - l i k e Belge Contemporain, Le Fresnoy, Tourco- Belge Contemporain, Le Fresnoy, Tourcoing MUSAC Collection, MUSAC, León (ES), porary Art Museum St. Louis presents four with words. L e c t u r e c h a r a c - ing (FR), 9/10 – 31/12; Thank you for your (FR), 14/12 (screening); Manon de Boer, 26/6 – 11/1; Taking Place, The Temporary key works that address the artist’s attention Manon de Boer, South London Gallery, Contrasted (with miss- ter found Understanding, International Antakya Bien- Contemporary Art Museum of St. Louis Stedelijk, Amsterdam, 28/8 – 9/1; Taipei Bi- to musical structures on film. Exploring no- London, 3/12–23/1 a g a i n s t ing content) a slightly nial, Antakya (TU), 15/10 – 20/11; De leur (US), 21/1 – 1/5 (solo); Les paradoxes du ennial 2010, Taipei Fine Arts Museum, Tai- tions of performance—and the ways that (www.southlondongallery.org) a small, ( 2 0 0 1 ) . m o r e temps (3): 10 ans de création en France, le temps, MUDAM, Luxemburg, 17/2 – 22/5 pei, 3/9 – 14/11; Watchmen, Liars, Dreamers sound can give a film its form—this exhi- u n u s u a l L i k e w i s e c h a r g e d prix Marcel Duchamp, Musée d’art mod- (Erudition concrete 3), FRAC Ile-de-France/ bition spotlights De Boer’s expansive and Manon de Boer, Contemporary Art Ed Ruscha predicated c o u n t e r - erne et contemporain, Strasbourg (FR), 6/10 Rineke Dijkstra Le Plateau, Paris, 16/9 – 14/11; Exhibition, grounding experimentations with sound, im- Museum Saint Louis, 21/1–1/5 p a i n t i n g on absence part in the – 13/2; Carnets d’inspiration, Musée d’art elles@centrepompidou, Centre Pompidou, exhibition / Mostra, mostra, Castello di Ri- age, and the conditions of cinema. (www.contemporarystl.org) T r o u b l e or erasure, empty book moderne de la ville de Paris, 7/12 – 9/12; Paris, 27/5/09 – 21/2/11; Pictures by Women: voli, Rivoli (IT), 21/9 – 9/1; There is Always 8 Newspaper Jan Mot Agenda 98 – 99

a Cup of Sea to Sail In, 29th Sao Paulo Bien- 8/6 – 24/10; De frente al sol, Galerie Martin Paris, 21/10 – 31/10; Storytellers, Centre nial, Sao Paulo (BR), 25/9 – 12/12; Direc- Janda, Vienna, 18/9 – 30/10; There is Always d’art contemporain Passages, Troyes (FR), tions: Cyprien Gaillard and Mario Garcia a Cup of Sea to Sail In, 29th Sao Paulo Bien- 26/11 – 5/2; New Frankfurt Internationals: Torres, Hirschhorn Museum, Washington, nial, Sao Paulo (BR), 25/9 – 12/12; Simon Stories and Stages, Frankfurter Kunstverein, 10/11 – 27/3 (solo) Starling: Never The Same River (Possible Frankfurt am Main (DE), 11/12 – 13/2; Brit- Futures, Probable Pasts), Camden Arts Cen- ish Art Show 7, Nottingham Contemporary, Dominique Gonzalez-Foerster tre, London, 16/12 – 20/2; Les paradoxes du Nottingham (UK), 8/1 (performance); Brit- elles@centrepompidou, Centre Pompi- temps, MUDAM, Luxemburg, 17/2 – 22/5 ish Art Show 7, Hayward Gallery, London, dou, Paris, 27/5/09 – 21/2/11; Dominique 16/2 – 17/4 Gonzalez-Foerster, Desert Park, Inhotim Sharon Lockhart Collection, Belo Horinzonte (BR), perma- Double Tide, Jan Mot, Brussels, 11/9 – Ian Wilson nent installation from 23/9 23/10 (solo); Anonymes, Le Bal, Paris, 15/9 Habiter poétiquement, Musée d’art moderne – 19/12; Move: Choreographing You, Hay- Lille Métropole, Lille (FR), 25/9 – 30/1 Douglas Gordon ward Gallery, London, 13/10 – 9/1; Double Yesterday Will Be Better, Taking Memory Tide, 54th BFI London Film Festival, Lon- They are being brought up one at a time in Into the Future, Aargauer Kunsthaus, Aar- don, 13/10 – 28/10 (screening); Double Tide, a rescue. My real father had an art studio gau (CH), 21/8 – 7/11; Trust, Media City American Film Festival, Wroclaw (PL), on the boat, and both my grandmother and Seoul 2010, Seoul Museum of Art, Seoul, 20/10 – 24/10 (screening); Double Tide, Pod- my older sisters are artists, too, but I didn’t 7/9 – 17/11; Breaking Windows, Galerie wórka, Viennale 2010, Vienna, 21/10 – 3/11 grow up with any of them. I have a brother Feinkost, Berlin, 18/9 – 7/11; Art at the VGF, (screening); Publics and Counterpublics, who’s an artist, and we were quite competi- Verband Geschlossene Fonds, Berlin, 22/9 – Centro Andaluz de Arte Contemporaneo, tive as artists growing up. Maybe we still 22/1; There is Always a Cup of Sea to Sail Sevilla (ES), 28/10 – 6/3; Double Tide, Co- are. I started clamming when I was In, 29th Sao Paulo Biennial, Sao Paulo (BR), penhagen International Documentary Film about 20, as my first love was a dig- 25/9 – 12/12; Essential 100, Toronto Film Festival, 4/11 – 14/11 (screening); Double ger, who got me into it. At first I picked Festival, TIFF Bell Lightbox Main Gallery, Tide, MoMA Museum of Modern Art, New snails, and then I got a digging license. Toronto (CA), 7/10 – 24/10; Let’s Dance, York, 7/11 – 11/11 (screening) I did better than most people starting out MAC/VAL Musée d’Art Contemporain du digging, and now it’s just a way of life. Self- Val-De-Marne, Vitry-sur-Seine (FR), 22/10 Deimantas Narkevičius employed and independent. – 23/1; Viaggio in Italia, Palazzo Fabroni, Postmonument, 14th International Sculp- I graduated from the University of Au- Pistoia (IT), 31/10 – 30/1; Douglas Gordon ture Biennial of Carrara, Carrara (IT), 26/6 gusta in 2003, paying my tuition by digging. and Jonathan Monk, Galleria Sonia Rosso, – 31/10; Yesterday Will Be Better, Taking It took me five years to get my degree, as I Turin (IT), 4/11 – 7/11; Haunted: Contem- Memory Into the Future, Aargauer Kun- had to take some semesters off due to financ- porary Photography/Video/Performance, sthaus, Aargau (CH), 21/8 – 7/11; Trust, es. I took almost every painting, sculpture, Guggenheim, Bilbao, 9/11 – 6/3 Media City Seoul 2010, Seoul Museum of ceramics, print making, and photography Art, Seoul, 7/9 – 17/11; Primeira e última, class available. I think that helped my per- Joachim Koester Galeria Luisa Strina, Sao Paulo (BR), 20/9 spective in many ways. It’s a Set-Up, Kiasma Museum of Contem- – 18/12; There is Always a Cup of Sea to I used to draw from a lot of old fishing porary Art, Helsinki, 26/3 – 20/2; Della Sail In, 29th Sao Paulo Biennial, Sao Paulo photos. The first one was a very small view Biennali di Atene, Istambul e Marrakech, (BR), 25/9 – 12/12; Faux Amis, An Ephem- based on a Shackleton photograph. As I Riso Museo d’Arte Contemporanea della eral Video Library, Jeu de Paume, Paris, 28/9 Sicilia, Palermo (IT), 8/7 – 7/11; You can’t – 6/2; Highlights from the Cologne Kunst- Colophon get there from here but you can get here from FilmBiennale in Berlin, KW Institute for Publisher Jan Mot, Brussels there, Apexart, New York, 15/9 – 30/10; Contemporary Art, Berlin, 17/10 – 31/10; Concept Design Maureen Mooren & There is Always a Cup of Sea to Sail In, Luc Tuymans: A vision of Central Europe, Daniel van der Velden 29th Sao Paulo Biennial, Sao Paulo (BR), Concertgebouw, Bruges (BE), 26/10 – 23/1 Printing Cultura, Wetteren 25/9 – 12/12; Habiter poétiquement, Musée d’art moderne Lille Métropole, Lille (FR), Tino Sehgal 25/9 – 30/1; At Home is Where the Heart CCA Wattis Institute,˘ San Francisco (US), (advertisement) Is, Galerie Giti Nourbakhsch, Berlin, 5/10 till 31/12; Trust, Media City Seoul 2010, – 30/11; Playground Festival, STUK Kun- Seoul Museum of Art, Seoul, 7/9 – 17/11; stencentrum, Leuven (BE), 4/11 – 9/11; The Exhibition, exhibition / Mostra, mostra, Cas- JAN MOT Unknown Group, FRAC Bourgogne, Dijon tello di Rivoli, Rivoli (IT), 21/9 – 9/1; 10000 (FR), 6/11 – 27/2; To navigate, in a genuine Lives, 8th Gwangju Biennial, Gwangju way, Galleri Nicolai Wallner, Copenhagen, Museum of Art, Gwangju (KR), 3/9 – 7/11; Rue Antoine Dansaertstraat 190 12/11 – 8/1 (solo); Ich bin selbst nur ein on&on, la Casa Encendida, Madrid, 18/11 – BE-1000 Brussel Bruxelles Aufnahmeapparat, Kestner Gesellschaft, 16/1 tel: +32 2 514 10 10 Hannover (DE), 26/11 – 6/2 (solo); Joachim fax: +32 2 514 14 46 Koester on Sol LeWitt, Artists on Artists Lec- Tris Vonna-Michell [email protected] ture Series, Dia: Chelsea, New York, 13/12 Wasteful Illuminations, T293, Napels (IT), www.janmot.com 15/9 – 1/11 (solo); Exhibition, exhibition / David Lamelas Mostra, mostra, Castello di Rivoli, Rivoli donderdag-vrijdag-zaterdag 14–18.30u Mixtapes: Popular Music in Contemporary (IT), 21/9 – 9/1; Manifesta 8, Murcia (ES), jeudi-vendredi–samedi 14–18.30h Art, Lewis Glucksman Gallery, Cork (IE), 9/10 – 9/1; Fun Palace, Centre Pompidou, en op afspraak / et sur rendez-vous