|15 May 2007||Photography / Film & Video May 2007|
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Hudson Franklin, New York
"To Preserve, To Elevate, To Cancel"
May 10 to June 16, 2007.
"To Preserve, To Elevate, To Cancel." These three concepts define the German word "aufheben," a term used by Walter Benjamin in his essay "Thesis on the Philosophy of History." It seems fitting that the tri-fold meaning of this term would resonate in Arthur Ou's work, which incorporates architecture and sculpture within the realm of photography.
Central to the exhibit is a large replica of a Marcel Breuer fireplace. It anchors the gallery space as an empty vessel that in turn provides a platform and ornamental base for Ou's "Double China" ceramic works. These pieces ask questions about how things are created and manufactured to convey notions of a globalized culture. It is no accident that the Breuer-inspired hearth is an ornament and symbol of Western prosperity while the "Double China" pieces suffer from an inability to function based on their hyperactive design.
In Ou's Untitled (Earthworks) photographs, formations are built from dirt and then placed on lacquered bases, locating them as sculptures and collected objects. The earthen forms at once reference notions of the landscape and ancient Chinese scholar rocks. For Untitled (Mirror Lake) 1 and 2, Ou brought copies of well-known Chinese ink paintings to the site where American photographers such as Carleton E. Watkins, Edward Weston and Ansel Adams took iconic images of the American West. For Ou, taking on the persona of nature photographer was a personal transformation. Not only was the pilgrimage to Mirror Lake a conflation of past and present, but it also created an act of cancellation. The manufactured landscape of the East and the iconic landscape of the West cancel each other out in a pictorial juncture of dislocation. Ou's work is informed by quiet anxiety, laid bare by his effort to locate the work within the space where two cultures meet. Perhaps the only possible resolution lies in the grammar of Ou's presentational language, employed effortlessly -- of building, preserving, elevating and canceling -- only to build again his own thesis on a philosophy of history. -Shannon Ebner
Arthur Ou received an M.F.A. in 2000 from Yale University. His work was included in the 2006 Taipei Biennial, "Dirty Yoga," curated by Dan Cameron and Jun-Jieh Wang and was recently seen in "Cataract" at Wallspace Gallery. He is a lecturer in the art departments of UCLA, USC and Otis College of Art and Design. This is his first solo exhibition in New York.
Ou's Untitled (Earthworks) series can also be seen at Ritter/Zamet Gallery in London as part of the group show, "Overbite/Underbite" on view until June 23, 2007.
Untitled (Mirror Lake 1), 2007
Piezo print on rag paper, 35" x 44"
Edition of 5
Courtesy of Hudson Franklin, New York
Read on... Hudson Franklin, New York
Monika Sprüth Philomene Magers Munich
Peter Fischli & David Weiss
15/05/07 - 28/07/07
Monika Sprüth and Philomene Magers are pleased to present the photographic series EQUILIBRES by Peter Fischli and David Weiss at their Munich Gallery.
In their work, the artists employ a wide variety of artistic means of expression, ranging from film, photography and artists' books to sculptures and multimedia installations. They adapt everyday objects and situations which they place - not without humour or irony - in an artistic context, thus raising philosophical and theoretical questions regarding the explanation of the world.
The photographs EQUILIBRES were created in the years 1984 and 1986. It is a series of 82 black-and- white and colour photographs showing assemblages of everyday objects. The attention is drawn to an dizzying construction, with gravity seemingly working in reverse, creating a state of suspension which cancels the weight and the value of the individual components. This is also summarized in the subheading of the EQUILIBRES of Peter Fischli and David Weiss: "Am schönsten ist das Gleichgewicht, kurz bevor's zusammenbricht." ("Balance is most beautiful just before it collapses.")
Precarious and often on the verge of collapse, the photographs with their suggestive titles are reminiscent of thought experiments and evoke the familiar Surrealist image of the "chance encounter of a sewing machine and an umbrella on a dissection table" (Lautréamont). The titles alternately function as accurate summaries of the sculptural situation, as in the case of the SCHLUMMERSCHLINGE (SLUMBER SNARE) or as anecdotic descriptions.
In their new EQUILIBRES artists' book, Peter Fischli and David Weiss have often assigned different titles to one and the same motif.
A smaller selection of the EQUILIBRES was presented for the first time in 1985 in the exhibition STILLER NACHMITTAG (QUIET AFTERNOON) at Monika Sprüth Gallery, Cologne, at the Kunsthalle Basel and at the Groningen Museum, accompanied by the artists' book of the same title.
Peter Fischli (b. 1952) and David Weiss (b. 1946) live and work in Zurich. They became internationally known through their film DER LAUF DER DINGE (THE WAY THINGS GO) which was shown at the DOCUMENTA in Kassel in 1987. Peter Fischli and David Weiss have represented Switzerland in numerous international exhibitions such as the Venice Biennale and were awarded the Golden Lion in 2003.
Their large retrospective FLOWERS & QUESTIONS was first shown at the Tate Modern in London in Autumn 2006 and travelled afterwards to the Musée d'Art Moderne de la Ville de Paris, the Kunsthalle Zürich and the Deichtorhallen Hamburg.
Peter Fischli / David Weiss
Natürliche Grazie, 1984/86
40 x 30 cm
Copyright: Peter Fischli & David Weiss
Courtesy of Monika Sprueth Philomene Magers Munich
Read on...Monika Sprüth Philomene Magers Munich
THIERRY GOLDBERG PROJECTS, New York
KEREN CYTTER : DREAMTALK
17 May - 17 June 2007
THIERRY GOLDBERG PROJECTS is pleased to present DREAMTALK, the first New York exhibition of the celebrated artist, filmmaker and author, Keren Cytter. The show will include two of Cytter's groundbreaking videos, Atmosphere and Dreamtalk.
Full of contradictions, Atmosphere and Dreamtalk are elusive as they are blunt. Dreamtalk presents an ironic love triangle involving a couple and their male friend. The friend desires the girl but she is loyal to her boyfriend, and he is seemingly obsessed with Sandra, a character on a TV reality-show. Atmosphere is also about a love triangle, centering on two women who live together and appear to be involved with the same man. The characters position against each other, competing. Parroting the reality TV show in Dreamtalk, the remaining couple asks themselves in the last moments, "Who is the looser, who is the winner?" So, what is happiness, what is resolution, and what is emotion? Keren Cytter's work raises all these questions presenting the viewer with a situation of a constant present where memory is being claimed in the midst of an unknown future.
Part auteur part amateur, Cytter pays homage to French New-Wave Cinema, Dogme films, and reality TV with a rough immediacy and poetic lingering. All else seeming secondary, the script is always at the core of her working process. The two pieces are filled with dialogue, but how much of it actually registers between the characters is another matter. The poly- vocal narration heightens the sense of detachment with each character carrying on his/her own internal dialogue, depicting a great disconnect between each other. This sense of vacancy, her intentional use of bad acting and single takes make for a brutally honest and wry portrait of romance, however banal. Talking about her work Cytter says: "When the script is finished, everything's supposed to be clear.. When I'm on the set, I'm like a bookkeeper; I [strictly] follow the script and try to follow what I was thinking about when I wrote it." In her clarity and precision, she offers an unflinching focus on the dynamics of relationships, what thoughts are hidden and which are expressed.
While constantly voicing thought, Cytter's videos are self-aware and self-referential. She pushes this awareness out to the edges of the script where the characters have a sense of their own acting. In Atmosphere, Julia asks: "What happened? I couldn't hear what you said" and Gayatri responds: "I think, I don't know.. I think it was my voice getting over from another scene.." This shifting-in and shifting-out of character coupled with the detached way the actors read the lines off the script transcends a notion of a very porous boundary between reality and illusion.
Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post- graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.
Keren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.
video still from Dreamtalk, 2005
Courtesy of Thierry Goldberg Projects, New York
Read on...THIERRY GOLDBERG PROJECTS, New York
YANCEY RICHARDSON, New York
May 10-June 29, 2007
Project Gallery: Persona: Robert Mapplethorpe, Yasumasa Morimura, Nikki S. Lee, Pierre Molinier, and Lyle Ashton Harris
Yancey Richardson Gallery is pleased to present Warhol: Vintage Portraits, an exhibition of photographic portraits of Andy Warhol taken by Christopher Makos over a period of two days in 1981 as a collaboration between the two artists. Titled Altered Images, the project resulted in 349 different images featuring Warhol posed against a plain white studio background wearing women's makeup and wigs. The project, inspired by Man Ray's famous portrait of Marcel Duchamp posing as his alter ego Rrose Sélavy, coincides with explorations of identity, gender and role-playing by other artists such as Robert Mapplethorpe's feminized self-portraits and Cindy Sherman's Film Stills.
In Altered Images, eight different wigs, two different make-up applications and a variety of poses and expressions transform Warhol into an array of different female characters, several of which reference his portrait subjects from the worlds of celebrity and society. It is well known that Warhol customarily wore a man's wig of blonde hair. As Ingrid Sischy, editor of Interview magazine, wrote in the book Andy, Warhol was "like a chameleon...I've always thought that in one way or another Warhol was always in a kind of drag."
Born in Lowell, Massachusetts and raised in California, Makos apprenticed with Man Ray in Paris as a young photographer. In 1977, Makos published White Trash, a collection of photographic portraits of the New York contemporary culture scene from celebrities such as Liza Minnelli and Halston to protaganists of the emerging downtown punk scene such as Debbie Harry and Patti Smith. In 1979, Makos art directed Exposures, Warhols' first photography book. The complete Altered Image project was published by Charta and Edition Bruno Bischoberger in 2001. Makos's latest book Warhol/Makos in Context was published by Powerhouse Books in 2007. Makos' photographs have been widely exhibited in Europe and the U.S. and are currently on view at the Museo Reina Sophia in Madrid.
>From Altered Images, #4.12, 1981
Vintage Gelatin Silver Print, Signed, titled, dated, stamped and editioned on verso
Courtesy of Yancey Richardson, New York
Gallery Website website
Read on... YANCEY RICHARDSON, New York
LESLIE TONKONOW ARTWORKS + PROJECTS, New York
PETER CAMPUS agenesis
NEW VIDEO WORKS
3 May 2007 to 29 June 2007
The formal simplicity of the seven works that comprise agenesis, our third one-person exhibition of video by Peter Campus, belies the complexity of their making. In these pieces, created from 2005 to the present, the artist moves away from the internalized discourse of much of his previous work to a more external vision. The perceptual study of essential aspects of video (such as time and duration) that Campus pioneered throughout the 1970s is newly clarified. Removing any hint of narrative, he creates descriptive statements about the notion of "place" by collecting and assembling nearly still images in each work. In exploring the phenomenology of seeing, the romantic notion of the camera as an extension of the artist's hand and eye is negated. The reductive structure of his work is counterpointed by the extraordinarily lush color that he achieves by using a succession of filters in a process that is comparable to glazing in painting.
Each work in the exhibition will be presented on a flat- screen monitor that rests on a simple white sculpture base. To achieve the best possible technical presentation, Campus transferred his digitally shot and constructed videos onto Apple TV HD players rather than on lower-compressed DVDs.
In the late 1960s Peter Campus emerged as a central figure in the evolution of video as an artistic medium. He has had solo exhibitions throughout the world at such major institutions as the Kunsthalle Bremen, Germany; The Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the Neue Berliner Kunstverein; the Kölnischer Kunstverein; and the Institute of Contemporary Art, Philadelphia. During the past year he has participated in important group shows at the Museo nacional d'arte Reina Sofia, Madrid; the Hamburger Bahnhof Museum of Contemporary Art, Berlin; Miami Art Central; and the Rose Art Museum. His work was also prominently featured in such landmark exhibitions as Into The Light (2001) and The American Century (1999) at the Whitney Museum of American Art, and he has participated in numerous international exhibitions including the Lyon Biennale (1995), the Venice Biennale (1978), Dokumenta 6 (1977); and the São Paolo Biennale (1975).
Major works by Peter Campus have recently been acquired by the Museo nacional d'arte Reina Sofia, Madrid, and the New Art Trust, and are also included in the collections of numerous museums worldwide including the Whitney Museum of American Art, New York; The Museum of Modern Art, New York; the Solomon R. Guggenheim Museum of Art; the San Francisco Museum of Modern Art; the Centre Georges Pompidou; the Museum of Contemporary Art/Hamburger Bahnhof, Berlin, and others.
still wind (2006). Digital video
Courtesy of Leslie Tonkonow Artworks and Projects, New York
Read on... LESLIE TONKONOW ARTWORKS + PROJECTS, New York
Fruitmarket Gallery, Edinburgh
Aernout Mik :
19 May 2007 to 11 July 2007
An exhibition of four films by renowned Dutch artist Aernout Mik, whose cinematic imagination and unnerving ability to present the truth through supremely banal fictions makes for art which helps us make sense of the world.
Responding to the urgency of war, Mik comments on both aggression and inertia with unseen footage from the conflict in Yugoslavia and a peculiarly familiar fictional account of the aftermath of a disaster. Vacuum Room, Scapegoats and Training Ground are made according to Mik's signature way of working, with professional, if anonymous, actors. Mik casts them adrift in situations fraught with potential meaning - a political assembly under siege from protestors; an empty stadium in which people appear to have been taken hostage; a police training facility. The actors move more or less aimlessly under Mik's direction, the camera roving around as the action unfurls, continuously threatening to come to a perpetually deferred conclusion.
Raw Footage is new in Mik's work, in that it is made from unused documentary footage taken by ITN during the war in former Yugoslavia. Not broadcast at the time, apparently because of its lack of dramatic content, the material tracks the mundane reality of war in an urban, civilian space.
Raw Footage questions what is real or acted out, as well as our relationship with images viewed through the mass media. Its reality counterpoints the constructed fictions of the other films. Together, the four works enlist an unsettling sense of recognition, the artist's work providing a context for a new understanding of human behaviour and experience.
Shifting, Shifting is organised in collaboration with Camden Arts Centre, London.
Aernout Mik, born 1962 Groningen Lives and works in Amsterdam and has been showing his films regularly throughout the world over the past 12 years, winning the Dutch National Heineken Art Prize in 2002 and shortlisted for the Blue Orange Prize in 2005. He will represent the Netherlands at this year's Venice Biennale
Courtesy of Fruitmarket Gallery, Edinburgh
Read on...Fruitmarket Gallery, Edinburgh
D'Amelio Terras, New York
May 5 - June 29, 2007
D'Amelio Terras is pleased to present our first solo show with artist Sam Samore who, working since the late 80s, is one of the pioneers of large scale conceptual photography. While in the past few years Samore has been widely shown primarily in European museums and institutions, this is his first major solo gallery exhibition in the United States since 2001.
In his new photographic series titled Scenarios, Samore continues his exploration of cinema and painting. His black and white gelatin silver prints are uniformly 48 x 84 inches in size, making reference to cinemascope widescreen movies. The large film grain of the photographs abstracts the image when viewed at a short distance, evoking an expressionistic sensuality. As the viewer steps further away, the scene is revealed, but never fully resolved. Expanded fields of modulated black and dark gray emphasize spatial and psychological isolation. Out of focus images operate like slow-motion effects, giving them an emotionally charged, dream-like atmosphere.
In Scenarios, Samore stages and directs the actors as anti-heroes/heroines within fictional episodes suggesting such genres as film noir, spy thriller, urban western, and Shakespearean tragedy, as well as the painting of Carravagio and Manet. Close-ups of the characters dominate, and when there are two or more faces, they appear compressed intimately together. Since few cues are given about the place of action, the psychic state of the characters prevails. Some images have been seamlessly collaged from different sources, further adding to the feeling of spatial disorientation. The exhibition as a whole can be viewed as a collection of jump-cuts from a movie which remains incomplete, the story unfinished.
Samore has exhibited internationally since 1990 at institutions such as the Kunsthalle Zurich, Switzerland; Fondation Cartier, Paris; De Appel, Amsterdam; Casino Luxembourg; Centre National de la Photographie, Paris and the 46th Venice Biennale. In 2006 he had his first solo museum show in the United States at P.S.I/MOMA, New York (Curated by Bob Nickas), consisting of two series of photographs displayed together for the first time: The Suicidist produced in 1973 and The Suicidist (continued), 2003- . In 2007 he has had a solo exhibition at Galerie Gisela Capitain, Cologne. Sam Samore lives and works in New York and Paris.
Scenarios #10 2007
36 x 72 inches (91.4 x 182.9 cm) approx image size
49 x 85 inches (124.5 x 215.9 cm) approx frame size
gelatin silver print
Edition of 2
Courtesy of D'Amelio Terras, New York
Read on...D'Amelio Terras, New York
Monika Sprüth Philomene Magers, London
A Play of Selves
May 24 - June 15, 2007
Monika Sprüth and Philomene Magers are delighted to exhibit 'A Play of Selves,' Cindy Sherman's seminal work from 1975 at their Grafton Street gallery in London.
In the introduction to the recently published catalogue for 'A Play of Selves' (Hatje Cantz, 2007), Sherman states: "This is the only work I've ever done that was consciously autobiographical."
American photographer and film-maker Cindy Sherman, born 1954 in New Jersey is known for her conceptual self-portraits in which she fully transforms herself into different personas with the use of make- up, costumes, play acting and even prosthesis. Sherman's work questions visual representation by addressing the false naturalness of photography, in particular the images of women which are promoted by mass culture such as movies, television and magazines as reality. Some of her most important series of works include "Untitled Film Stills" (1977- 1980), "Centerfolds" (1982), "Disasters" (1986- 1989), "History Portraits/Old Masters" (1988- 1990) "Sex Pictures" (1992), and "Clowns" (2003- 2004).
'A Play of Selves' comprises 72 photographic assemblages which Cindy Sherman cut out of black and white prints in 1975 during her last college year in Buffalo, New York, and marks one of the first uses of herself as a subject in staged photographs. Having originally used the cut-out figures for an animated film ('Doll Clothes,' 1976) she soon realized that the figures could interact with each other. A film script developed, the story of a young woman overwhelmed by various alter-egos working at odds with her and her final conquering of self-doubt, played out in four acts and a finale with 16 separate characters. The scenes incorporate the allegoric figures 'Madness,' 'Vanity,' 'Agony' and 'Desire' that evoke the conflicting aspects of the female protagonist, which appears in different situations as 'Broken Woman,' 'The Actual Main Character' and 'The Character as Others see Her.' Only at the end does 'Broken Women' become the 'Actual Main Character.'
Cindy Sherman lives and works in New York City. Since the 1980's, her work has been collected by major private and institutional collections worldwide. Most recently, a large-scale retrospective organized by the Jeu de Paume, Paris travelled to Kunsthaus Bregenz, Austria and is currently on view at the Louisiana Museum for Moderne Kunst, Denmark until May 20, concluding at Martin-Gropius-Bau, Berlin, Germany (15 June - 17 September 2007).
'A Play of Selves' will be on view at Monika Sprüth Philomene Magers, 7A Grafton Street, from May 24, 2007 through June 15, 2007. Opening Hours are Tuesday through Saturday, 10 am - 6 pm and by appointment.
"A play of selves/ Act 2-Scene 2", 1975
Black and white photograph mounted on board
45 x 38,1 cm
Copyright: Cindy Sherman
courtesy of the Artist, Metro Pictures and Monika Sprueth Philomene Magers
Read on...Monika Sprüth Philomene Magers, London
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