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San Francisco Museum of Modern
Art |
Room for Thought: Alexander Hahn and Yves
Netzhammer
July 10 through October 5,
2008
Room for Thought pairs two
computer-generated video installations by Swiss artists
Alexander Hahn and Yves
Netzhammer that reveal a fascination with internal
landscapes of the mind. Hahn's single-channel, interactive
video projection Luminous Point (2006) allows the viewer to
take a self-guided tour of a virtual simulation of the
artist's Manhattan apartment, using a remote control to
navigate a gamelike labyrinth of spaces derived from digital
manipulations of photographic and filmic records. Where Hahn's
hybrid space incorporates images of the real world, Netzhammer
presents a poetic world of pure invention. Premiering at
SFMOMA, his new three-channel, site-specific installation
Furniture of Proportions (2008) incorporates highly stylized
wall drawings, animation, and sculptural objects to create an
intricate spatial narrative.
Organized by Rudolf Frieling, SFMOMA's curator of
media arts, the exhibition occupies adjacent galleries and
represents two generations of artists who have consciously
worked with the computer as a formal artistic tool and means
of expression. Both Hahn and Netzhammer combine a variety of
traditional media with computer techniques in order to
articulate a deep concern with the histories of philosophy and
art. The artists also share an interest in human thought
processes and the interplay between external images in the
world and internal images in the mind. Undertaken as an
open-ended investigation, their art is concerned with
transience and states of change, and deals in surrealistic
effects, associative thinking, and temporal
multiplicity.
Alexander Hahn
Hahn (born 1954)
is widely regarded as a pioneer of new media. His experiments
with digitally reworked animations combine documentary film
and video, photography, and computer-generated imagery,
conflating reality and fantasy. Filled with associative, often
cyclical image-streams, his work generally revolves around
problems of representation-specifically rules governing
individual and collective memory-and raises questions about
what it means to perceive, store, and recollect visual
knowledge in both time and space.
Yves Netzhammer
Zurich-based
artist Netzhammer (born 1970) has become known for his
graphically dynamic drawings, animations, and sculptural
installations that explore the interconnectedness of things.
Dealing in extremely reduced forms, his mainly figurative
imagery intentionally blurs the hierarchy among humans,
animals, plants, and iconic objects. This abstract pictorial
lexicon-or, "thought-imagery" to use the artist's
term-functions more akin to a system of encoded signs that,
uprooted from reason and familiar context, stand in opposition
to the world of everyday images.
Room for Thought: Alexander Hahn and Yves Netzhammer
is organized by the San Francisco Museum of Modern Art.
Support for this exhibition is provided by Pro Helvetia, Swiss
Arts Council.
Image:
Yves Netzhammer
Furniture of Proportions (preparatory sketch),
2008
Courtesy the artist and Galerie
Anita Beckers, Frankfurt, Germany
© 2008 Yves Netzhammer
San Francisco Museum of Modern
Art
151 Third Street
San Francisco, CA
94103
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Hyde Park Art Center,
Chicago |
Catherine Forster
They Call Me Theirs
3 Aug 2008 to
5 Oct 2008
They Call Me Theirs is a
multi-media installation composed of video, prints, sculpture
and sound, creating an encounter intended to question the
distinctions we make between the natural and digital world.
They Call Me Theirs reverses the experience
of the outdoors by neatly packaging the four seasons in a "Box
Set" inside a cabin, suggesting that our efforts to
purify our experience with nature have actually taken us
farther away from it.
The title of the work is taken from a line in the poem
"Hamatreya" by Ralph Waldo Emerson, which questions man's
desire to claim ownership of the land that is inherently owned
by nature. In the poem, the Earth responds, "How am I theirs,
/ If they cannot hold me, / But I hold them?" Similarly, the
exhibition holds a sound-insulated cabin/shrine for the viewer
to enter. A hand-crafted hardwood box containing a small
personal monitor playing video images of the four seasons sits
inside. Two different cacophonous soundtracks play from both
the interior and exterior, highlighting the tension between
the realities of the two environments. Adjacent to the gallery
housing the cabin, is a "hanging garden" composed of large
scale inkjet prints on aluminum sign panels. The prints were
sourced from video stills, then painted and digitized,
creating a luscious though synthetic environment.
Catherine Forster is a filmmaker,
artist, curator and educator based in the Chicago area. She
received an M.F.A from the School of the Art Institute of
Chicago. Her artwork has been shown in exhibitions at the
Carnegie Art Museum, South Bend Regional Art Museum, Orange
County Contemporary Art Center, Exit Art and Contemporary Art
Centre in Vilnius, Lithuania, to name a few. Films by Forster
have been screened at the Echo Park Film Center, Portsmouth
Film Festival (UK), The Directors Lounge Berlin, and San Diego
Women's Film Festival. Her artwork explores themes of
identity, social development and the impact of popular culture
on individuality. Forster is also the founder and director of
a non-profit nomadic new media art space, LiveBox
Gallery.
Image:
Catherine Forster
They Call Me
Theirs
Box Set: hand crafted hardwood box, 5 DVDs, DVD
player
10 x 9 X 3in
Courtesy of the artist
Hyde Park Art Center
5020 South
Cornell Avenue
Chicago, IL 60615
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Julie Saul Gallery, New
York |
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When color was new
vintage photographs
from around the 1970s
July 7 - September 6,2008
Closed August 25-September 1.
Harry Callahan, William Christenberry,
William Eggleston, Mitch Epstein, Walker Evans, Luigi Ghirri,
Nan Goldin, Dan Graham, Jan Groover, David Hockney, Helen
Levitt, Joel Meyerowitz, Paul Outerbridge, Martin Parr, John
Pfahl, Arthur Siegel, Stephen Shore, Joel Sternfeld, Boyd
Webb, Terry Wild
The Julie Saul Gallery is pleased to
announce our summer exhibition of color work made during and
around the 1970s, "when color was new." The selection is
comprised of 40 works by 20 photographers ranging from the
straight street or snapshot aesthetic of Helen Levitt, William
Eggleston, and Joel Meyerowitz to more conceptually based work
of contemporaries Boyd Webb, John Pfahl, Dan Graham and Luigi
Ghirri. Hybrids exist as well as in the straight yet formally
driven compositions of Jan Groover and David Hockney. The
diaristic quality of the snapshot aesthetic, which is such a
standard feature of art school production, is beautifully
demonstrated by the prints of Stephen Shore.
Self proclaimed art photographers have experimented
with the use of color from the mediums' early days, as seen in
the autochromes of Edward Steichen. Some examples of color
work made prior to the 1970s are featured in the show to
demonstrate the "pre-history" of color art photography,
especially as used by cross-over commercial/art practioners
Paul Outerbridge Jr, Arthur Seigel and Harry Callahan.
It was only with the imprimatur given by John
Szarkowski at the Museum of Modern Art in 1976 with his
controversial exhibition of William Eggleston's Guide, that
color became generally accepted within the art canon. The
trickle down effect took hold almost immediately within
institutions and art schools- and by the mid-1980s color was
the most widely used medium in art photography and today it is
ubiquitous.
Many mediums were evident within the practice of
color photography from its earliest days. The stunning
intensity of the color carbro prints of Outerbridge stand out
in contrast to the subtle tonalities of even the most vibrant
chromogenic prints. The selection includes beautiful examples
of the nearly extinct medium of dye transer prints as seen in
the work of Meyerowitz, William Christenberry and Joel
Sternfeld. In several instances, the exhibition includes both
chromogenic prints and dye transfers by the same photographer,
enabling one to see the different qualities of the two
mediums. The short-lived popularity of the SX-70 Polaroid gave
rise to the use of color by Walker Evans- who had previously
vowed his lack of interest in color. Australian photographer
Boyd Webb made stunning use of the powerful Cibachrome print
in his pop still lifes.
Altogether, this group of images, which range from
still life to landscape and street photography demonstrate a
moment when there was novelty and even shock in the use of
color in an art context- while today it certainly represents
the norm. Almost all of the prints in the exhibition were made
at or around the time of the negative, allowing us to reflect
on the historical appearance of color print, which today are
almost universally printed
digitally. Image:
© Joel Sternfeld
The Space Shuttle Columbia Lands at Kelly Lackland
Air Force Base,
San Antonio, Texas, March 1979.
Courtesy of the artist and Luhring Augustine, New
York
Julie Saul Gallery
535 West 22nd
Street
New York, NY 10011
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Tanya Bonakdar Gallery, New
York |
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Mat Collishaw
Deliverance
19 June - 31 July, 2008
Tanya Bonakdar Gallery is delighted
to present Deliverance, an exhibition of new work by
Mat Collishaw. For his fifth solo show with
the gallery, Collishaw creates installation and photo-based
works that explore the impact of disturbing subject matter
presented through formally stunning imagery. Mining the
fertile ground between oppositional themes: reality versus
reproduction, observation versus exploitation, seduction
versus repulsion, Collishaw presents works that captivate the
viewer in their seemingly contradictory ability to incorporate
beauty and horror in equal measure.
Immersing the visitor in a scenario of violent
conflict, the dramatic large-scale installation in the main
gallery, from which the show derives its title, examines
portrayals of disaster in the media. Comprised of staged
images 'fired' from ceiling mounted projectors onto the
darkened gallery's walls, the atmosphere of Deliverance is at
once theatrically entertaining and simultaneously disquieting.
The staged images projected onto the walls are of escape, from
some unknown and unseen disaster; mothers carry half naked
filthy children to safety, and bedraggled boys and girls run
from danger, their appearance out of the dark blankness behind
them seems to imply that there may have been others left
behind who were not so lucky. Phosphorescent paint covers the
entire main gallery, temporarily capturing the projections of
these images on the walls, where they glow with a yellow-green
light and gradually fade to black. The projectors, swiveling,
clicking, and flashing like a military armament of paparazzi
cameras, create a dazzling, hypnotic and disorienting
environment, occasionally freezing the viewer's own shadow on
the wall and incorporating them into the installation. Full of
psychological intensity, Deliverance recontextualizes the
spectacle of violence exploited by a voracious 24-hour cable
television and Internet news culture, to create a work that is
as chilling as it is entrancing.
The daguerrotypes presented at the threshold of
Deliverance provide a history of image making, an explanation
and examination of the origins of our visual culture. The
daguerrotypes depict the same models used in Deliverance,
though here the subjects have been removed from the context of
fast paced and glossy reportage and encased within the coffin
like intimacy of the daguerreotype presentation cases-images
of disaster preserved as keepsakes.
Collishaw's work is in many major international
museum collections and his recent exhibitions include Les
Fleurs du Mal, Museo D'Arte Contemporanea, Sannio Benevento,
2007 (group); Reconstruction #2, Sudeley Castle, Winchcombe,
Gloustershire, 2007 (group); Into Me / Out of Me, PS1 MoMA,
Long Island City, New York, 2006 (group); and What Makes You
and I Different, Tramway, Glasgow, 2006 (group), and
Inverleith House, Royal Botanic Garden, Edinburgh, 2005 (solo)
among others.
Image:
Mat
Collishaw
Deliverance, 2008
Installation View, Tanya
Bonakdar Gallery
Courtesy of the artist and Tanya Bonakdar
Gallery, New York
Tanya Bonakdar Gallery
521 West
21st Street
New York, NY 10011
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KLEMM'S,
Berlin |
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Gwenneth Boelens
The Entire Business of
Coming Closer
28 June 2008 to 2 Aug 2008
Gwenneth Boelens (*1980 Soest, NL; lives
and works in Amsterdam) takes the precise observation and
analysis of photography as point of departure and develops it
into three-dimensional installations, collages, performances,
photography and video projections. In these works different
methods of scientific fields, like archeology and philosophy,
mix with an artist's approach, retaining a certain openness.
She illustrates, for example, the dialectic relation between
culture and nature, the relationship of the human body to
space or the fragmentary character of memory and recognition.
With a subtle pictorial language, without big gestures or
ostentatious narration, she illuminates her objective very
precisely.
The exhibition 'The Entire Business of Coming Closer'
gathers several works that have developed in the last years
and deal with the relationship or struggle between two
seemingly opposing poles, rationality/logic on the one hand
and intutition/improvisation on the other.
The spacious installation 'Ramble' refers to a
constructed wild garden in New York's Central Park, while the
English verb 'to ramble' means erratic roaming. Boelens
transfers this situation to the exhibition space: the
ostensible wilderness is re-constructed by a collage-like
panorama, while a soliloquy in the background reflects on the
ambiguity of its artificial lusciousness.
Scanning the environment by eye-sight is an essential
characteristic of Boelens' work and taken literally in her
filmic work 'Hand-Wall'. As if to ascertain over and over
again the limitations and restrictions, a person's hand
wanders along the walls and the windows of an undefined room.
As the eye follows this movement a loose impression emerges -
a feeling of the space that nevertheless remains insecure and
is additionally interrupted by the look outside.
At first glance 'A Whole Fragment' is reminiscent of
a jigsaw puzzle on the floor and seems to be a random
accumulation of geometric forms that need to be sorted. The
related wall piece reveals that it is a scaled-up derivation
of a paper original. It is a conscious transfer of image
fragments into the space, marking an ephemeral location that
no longer exists.
Assembling images, rooms and situations from memory
is inevitably linked to the aspect of failure that Boelens
retains in all her works. She approaches the world as if it
still has to be discovered, analyzed and comprehended while
being aware of the doubts and possible mistakes that might
occur. Here, the human presence is either equal to objects or
subordinate to them. Slightly off-centered, yet clearly
perceptible, the human is observer and catalyst at the same
time for Boelens' situations and arrangements.
Image:
Gwenneth Boelens
'Ramble' 2007
(installation) and 'A Whole Fragment' 2007 (archival ink
jet print)
exhibition view KLEMM'S, Berlin
Courtesy of the artist and KLEMM'S
Berlin
KLEMM'SBrunnenstraße 7 10119
Berlin KLEMM'S
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Galerie Anita Beckers,
Frankfurt |
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Tea Time - Living with Art
July
4th through August 30th 2008
2 changing
presentations:
1. "Landscape Beyond
Romanticism"
Sonja Braas / Julia Oschatz /
Nathalie Grenzhaeuser / Marc Baruth / NIklas Goldbach **/
Clare Langan / Charlotte Mumm
Opening: Friday July 4th from
7pm
2. "Media and Everyday Life"
Kota
Ezawa / Billa Burger / Bjørn Melhus / Zhenchen Liu
Opening:
Friday, August 1st from 7 pm
Not only is the art market
subjected to increasing attention in recent years, but also
its best buyers, the art collectors. Not only is the audience
interested in the collections but more and more in collectors
as personalities themselves and their private life is the
subject of public attention.
But what does it really mean to live a life in
intimacy with art? What does it mean when the love for art is
not merely a weekend visit to the museum, but the works are at
home, populate the rooms and fill the four walls with a life
of their own?
As a gallery, which usually is only a mediator
between the market and the collector, we seek with "Teatime"
for life and art to come closer and recreate the home
environment of a passionate collector. During this summer we
stage a platform for a life with and between art and fill it,
in addition to the art itself, with lectures and artist talks,
with Nathalie Grenzhaeuser for instance. The updated program
is to be found at our website.
The exhibition consists of two parts (the opening of
the second part will take place on the 1st of August), showing
work on two central themes of the artistic creation in recent
years: "Landscape Beyond Romanticism" and "Media and Everyday
Life". Works of Sonja Braas, Julia Oschatz, Nathalie
Grenzhaeuser, Clare Langan, Bjørn Melhus, Kota Ezawa, Billa
Burger, Marc Baruth, Liu Zhenchen, Niklas Golbach and
Charlotte Mumm are here to be seen.
Selected pieces of furniture provide the ambience of
a fictive collector living environment populated with
photography, painting, sculpture and video art. The furniture
is kindly made available by Design FFM and the Designer Stefan
Weckesser for the duration of the exhibition.
We kindly
invite you to build an impression and make yourself
comfortable between the sofa, a cup of tea and the art
works.
[Tasja Langenbach]
Image:
Marc Baruth
Der verlorene Sohn - Der
Schafhirte im Walde
Lambda-Print, 2005
Courtesy of the artist and Galerie Anita Beckers,
Frankfurt
Galerie Anita
Beckers
Frankenallee 74
60327 Frankfurt
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The Physics Room, Christchurch, New
Zealand |
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Si c'est (if it is)
Fiona Amundsen & Tim
Corballis
16 July-9 August
2008
Si c'est (if it is) is a
collaboration between Fiona Amundsen and
Tim Corballis, based on a sustained
investigation of a specific urban site: Wynyard Point (also
known as the Tank Farm), a now largely demolished part of
Auckland's industrial waterfront. The project creates a series
of works in two different formats-photographs and written
text(s)-that relate artistically/aesthetically, while avoiding
the primacy of one form over the other which is found in the
standard text-photo relationships, caption and illustration.
Si c'est works with the unavoidable lack of
equivalence between text and photo, and with their irreducible
differences: linear vs. planar, created vs. recorded,
implicitly vs. explicitly narrative. In this regard,
Amundsen's photographs which question and ironise any
'scientific' view of place will be juxtaposed with Corballis's
invented interviews of tangential relevance to the site, which
in themselves are reminiscent of oral-histories or courtroom
cross-questioning.
Disrupting our attempt to understand the site under
investigation, each artist's work brings into focus the
subjectivity behind their attempts. The juxtaposition of these
two forms of documentation further complicates our view
suggesting at least two (eye and voice), or possibly multiple
subjectivities, as the audience reads back and forth between
photographs and texts. Indeed, throughout this exercise if
Si c'est reveals anything about Wynyard
Point, it is that such sites can at best be viewed partially,
through a range of fragmented views that refuse
synthesis.
Auckland-based artist Fiona Amundsen
graduated with a Bachelor of Arts (in Social Anthropology)
from the University of Auckland before continuing at the
University of Waikato, graduating with a Bachelor of Social
Science with Honours in Anthropology and a Master of Social
Sciences in 2005. She currently lectures in Art Theory/History
and Photography at Auckland University of Technology. Recent
solo exhibitions include Miracle on the Han River, Changdong
Studio Gallery, Seoul (2008), Garden Place, Roger Williams
Contemporary, Auckland (2006); Garden Place, McNamara Gallery,
Wanganui (2006); Time Trials, Canberra Contemporary Art Space,
Canberra (2004). Selected group exhibitions include Primary
Products, Adam Art Gallery, Wellington (2007); Telecom
Prospect 2007: New Art New Zealand, City Gallery, Wellington
(2007); Contemporary New Zealand Photographers, Starkwhite,
Auckland (2005); Slow Release, Heide Museum of Modern Art,
Melbourne (2002).
Wellington-based writer Tim
Corballis is the author of the novels Below (VUP,
2001), Measurement (VUP, 2002) and The Fossil Pits (VUP, 2005)
as well as numerous short stories, essays and reviews in
magazines, newspapers, literary journals and anthologies. He
was awarded the Adam Foundation Prize and a Modern Letters
Fellowship for his work in 2000 towards the MA in Creative
Writing at Victoria University of Wellington and in 2003 was
listed amongst the top ten New Zealand writers under 40 by the
New Zealand Listener. In 2002 he was the Randell Cottage
Writer in Residence, and in 2005-2006 he spent a year in
Berlin as the Creative New Zealand Berlin Writer in Residence.
He was a judge of the Montana New Zealand Book Awards in 2008.
Corballis is currently editing Landfall 216 on the theme of
'utopias', working on a novella (possibly the first of a
series) which concerns early English psychoanalyst Joan
Riviere, and beginning a PhD dissertation on Frankfurt School
aesthetic theory in the New Zealand context.
During the conversation sustained in the lead up to
this project for The Physics Room, Amundsen and Corballis also
collaborated on a series of page works for Enjoy's recent
publication, Public Good (2008). Issues of Public Good will be
available via The Physics Room during the exhibition of
Si c'est (if it is).
Image:
Fiona Amundsen
Courtesy
of the artist and The Physics Room, New Zealand
The Physics Room
2nd Floor 209
Tuam Street
Christchurch
New Zealand
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re-title.com - Independent directories of
emerging & professional contemporary art
Coming Next
July 17-18 - Painting / Drawing
July 24-25 - Summer Shows
August 27-28 - Painting & Drawing
September 5 - Mixed Media
September 10-11 - Photography, Film & Video
September 17-18 - Sculpture &
Installation
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