10 October 2007

re-title.com newsletter - London & Paris - October 2007

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RAW Paris Gallery Primo Alonso, London Galerie Isabelle Gounod, Paris THE FUTURE CAN WAIT, London galerie schleicher+lange Paris Max Wigram Gallery Ridley Road, London Next Newsletters         sign up!

RAW Paris RAW Paris Curated by Michael Elion 17 Oct - 22 Oct 2007 19 Rue Fernand Leger 75020 Paris Tim Dempers Michael Elion Andre Niemeyer Sandra Pfeifer Kathrin Kur RAW Paris: open for view: Wednesday 17 Oct - Monday 22 Oct, 2pm - 1am. Vernissage Friday 19 Oct, starts 6pm. During FIAC art fair in Paris two young South African artists, Tim Dempers and Michael Elion, will put on a late-night exhibition in the studio of Xavier Veilhan. The title of the show refers to both the work itself and how the artist's feel at this juncture in their lives. The work challenges our perceptions with new modes of sensory expression. Curated by Michael Elion, the exhibition is supported by work from Andre Niemeyer (Brazil), Sandra Pfeifer (Austria) and Kathrin Kur (Germany). RAW is a supplementary art venue during the fair. Tim Dempers' three-dimensional paintings explore the potential identity of lines, using digital media to exploit new possibilities in painting. Dempers uses algorithms (developed in collaboration with mathematician Dr. Alex Scott) and parametric modelling to create three-dimensional paintings from his sketches. His work is based on exploiting components of kinetic energy exerted in the drawing of a line - acceleration, direction, pressure, distribution etc. - and allowing them to serve as catalysts for his work. In "Code Unknown" fibreglass strips undulate rhythmically around a transparent frame. By harnessing "the entropy of a line", Dempers proffers an original paradigm from which to understand the synthesis of form and content. Michael Elion's work deals with aesthetics and visual perception. The highly formal content is drawn largely from the natural world. His interest in representation and language, and their relationship to aesthetics, come together in a dialectic of seemingly antithetical works. The words KATE MOSS emblazoned in gold leaf confront an enormous, ugly, yet beautiful fly. Elion's use of juxtaposition in the presentation of different works serves as an auxiliary aesthetic tool, each work acting as a perceptual prosthesis for the other. His research interest in cognitive science is evident in his chequer pattern, tropical aquariums that intend to defy "the inherent desire of the brain for order". Andre Niemeyer's aesthetic sensitivity is clearly rooted in his fashion background. The young men in his "Wanted" series (mug shot type paintings) are beautiful, impassive and damaged and evoke ambiguity. Are they victims of abuse or victims of their own narcissistic invincibility? Heroic yet delicate, the duality reveals the ineluctable vulnerability of youth and the fragility of romanticized masculinity. Sandra Pfeifer uses female mannequins as the subjects in her photographs, and in so doing initiates a deceptive dialogue with the viewer. Each of the mise-en-scenes in her "Dummy" series is based on marginal figures like Anita Berber, "society whores", who are both desired and pitied. Kathrin Kur's photographs reveal some of the blindspots of our experience in a culture of absolute visibility. Her empty, bullet-ridden shooting ranges invite ambivalence, using a seductively calm aesthetic to portray a practice-ground for killing. A 64 page full colour, hard copy catalogue will accompany the exhibition. A free pdf version can be downloaded here Image: Michael Elion Drexel, 2007 300 x 300 x 5cm Inkjet print on PVC Image courtesy of the artist RAW Paris Read on... RAW Paris

Gallery Primo Alonso, London THE LUCIFER EFFECT Curated by Gordon Cheung 4 Oct - 18 Nov 2007 Reza Amaresh Gordon Cheung Brian Duggan Matt Franks Anne Hardy Hugh Mendes Renata Padovan Boo Ritson Neal Rock Piers Secunda In August 1971, social psychologist Philip Zimbardo performed a controversial experiment, one whose results still send a shudder down the spine because of what they reveal about the dark side of human nature. In his book "The Lucifer Effect: Understanding How Good People Turn Evil", Zimbardo recalls the Stanford Prison Experiment and we witness normal college students randomly assigned to play the role of guard or inmate for two weeks in a simulated prison, yet the guards quickly became so brutal that the experiment had to be shut down after only six days. He suggests that under certain conditions and social pressures to morph into a pattern of a cultural stereotype ordinary people can commit acts otherwise unthinkable, this transformation is what Zimbardo calls "The Lucifer Effect". This exhibition of painting, video, photography and sculpture explores with parallell structures to Zimbardo's experiment surface, systems and multi- dimensional realities that dynamically illuminate perceptions of humanity. Each artist's use of performative rituals to networks of signifiers range influences from popular to socio-political culture enabling us to glimpse humanity's heart of darkness and ultimately our individual delusions to hide from the truth about ourselves. Gallery Primo Alonso 395-397 Hackney Road London E2 8PP +44 (0)20 7033 3678 Thurs - Sun 11am-6pm or by appointment Image: Reza Aramesh from the series: 'Between the eye and the object, falls the shadow..' Courtesy of the artist Gordon Cheung Gallery Primo Alonso, London Read on... Gallery Primo Alonso, London

Galerie Isabelle Gounod, Paris Antea ARIZANOVIC Identification 5 Oct - 10 Nov 2007 Antea Arizanovic is part of the young generation of Slovenian artist who questions the conservatism of a patriarchal society, as well as identity and sexual discrimination. Working with painting, photography, video, objects and performances, her work addresses the political context of an expanded Europe and that of a traditional society. Arizanovic explores the way the body is perceived in our societies, which are guided by consumption. In which manner are sexuality and eroticism presented and exploited nowadays? In her series of photographs Glamorous Eves, she refers to two of the most emblematic figures of the 20th century: Marilyn Monroe and Madonna. The artist presents herself as a young sophisticated, blond and voluptuous woman. One of her posters advertising the slogan "Be my sponsor" operates between seduction, domination and/or submission with the "voyeur". Another intriguing figure: an elderly and slender woman with a wrinkled face and dressed as a Playboy bunny, watches us from a theatre box. Must we follow the canons of beauty from her time to seduce or confront reality (in this case, the spectator) to take on the sight of her aging body? The Beaten Bride is composed of a series of photographs printed on silk pillows with lace embroided portraits of the artist as a young bride. A fake bruise is exaggerated on her face. "By presenting my own face damaged by violence, I wanted to underline women's submission, passivity and endurance in a patriarchal society. Before getting married, women belong to their father, and then becomes the property of their husband. Women must be obedient and discrete as abuse is a form of punishment for all acts of disobedience. During a performance called Elixir of Transition the artist humorously raises the issue of national identity. Placed behind a counter adorned with flags of Yugoslavia and the European Union, she sells a drink titled Elixir of Transition to passerby's for 1 Euro. This potion, which has "medical" benefits, helps to better understand political and cultural conflicts during an era of important transition but also carries "undesirable" side effects. This performance took place a year before the entrance of Slovenia into the European Union. Antea Arizanovic was born in Ljubljana (Slovenia) in 1978. She lives and works in Ljubljana. Galerie Isabelle Gounod 4, rue Fessart 92100 Boulogne-Billancourt Paris France Image: Antea Arizanovic Walk in a circle, 2007 photographie tirage lambda 100 cm x 77 cm, 1/5. Courtesy of Galerie Isabelle Gounod Galerie Isabelle Gounod, Paris Read on... Galerie Isabelle Gounod, Paris

THE FUTURE CAN WAIT, London The New London School : Curated by Zavier Ellis & Simon Rumley 10 Oct - Oct 2007 Jennifer Allen, Dylan Atkins, Emma Bennett, Kiera Bennett, Louise Camrass, Julian Cerqueira-Leite, Simon Cunningham, Gordon Cheung, Christopher Davies, Tessa Farmer, Nadine Feinson, Bettina Graf, Tom Hackney, David Hancock, Matthew Houlding, Sam Jackson, Chia-En Jao, James Jessop, Kounosouke Kawakami, Cathy Lomax, Robin Mason, Rui Matsunaga, Sarah McGinity, Hugh Mendes, Alexis Milne, Richard Moon, Alex Gene Morrison, Rie Nakajima, Gavin Nolan, Margaret O'Brien, Tim Parr, Jaime Pitarch, Emma Puntis, Harry Pye, Miho Sato, Dominic Shepherd, John Stark, Erik Tidemann Gavin Tremlett, Will Tuck, James Unsworth, Stella Vine, Hannah Wooll Curators Zavier Ellis and Simon Rumley have now announced the full list of artists set to exhibit in the Old Truman Brewery's Atlantis Gallery, in what promises to be a seminal show in the future of art history. Ellis and Rumley have selected the best of what they describe as The New London School - artists whose work deals with the human condition in painting, video and installation, underpinned by an emphasis on technical expertise. FEATURING THE ART STARS OF THE MOMENT, THE SHOW WILL BRING TOGETHER HUNDREDS OF FUTURE COLLECTABLE WORKS IN ONE GALLERY SPACE AND ALL PIECES WILL BE FOR SALE. The Future Can Wait will be bigger than anything of its kind that has gone before. It will also offer a contrast to the more limited viewing context of the art fair booth system by showing a wealth of work as it was originally intended - in a spectacular, spacious environment. Featuring London-based or educated artists for its inaugural year, The Future Can Wait will eventually take on global partners to become a primary showcase for international artists. THE FUTURE CAN WAIT Atlantis Gallery, Top Floor The Old Truman Brewery 146 Brick Lane London E1 6RU Image: Jennifer Allen 'Happy Christmas Mom & Dad' Video performance Edition 5 2006 Courtesy of the artist THE FUTURE CAN WAIT Read on... THE FUTURE CAN WAIT, London

galerie schleicher+lange Paris Mel O'Callaghan Landslide 8 Sept - 27 Oct 2007 The sculptures, installations and films of Australian artist Mel O'Callaghan are environmental and architectural representations that draw on a notion of desertion and fusion with atmospheric and natural elements. Through their system, these elements evoke the human being, often absent, or overcome by his environment. By reproducing these phenomena, the artist draws our attention to those events that often go unnoticed in their own right, but are noticed and felt through their repercussions. Here, it is the conceptual and poetic potential of our environment that is made visible. In landslide, Mel O'Callaghan presents an installation reproducing a natural phenomenon in its cyclical and spatial temporality. The space of the gallery is invaded by an atmospheric turbulence; although invisible and immaterial, this turbulence fills the space, rendering it opaque, and ultimately creating a feeling of perdition as a result of the unknown that it arouses. Despite its intangibility, the matter takes on a sculptural density and creates a new dimension within the space. Mel O'Callaghan plays on the fragility of the matter and the power of its effects, although it is of course non- matter, colourless and almost invisible but also impalpable and unlimited in the forms it can take. This shifting sculpture is also indeterminate in its temporality, growing via a process of expansion in the space and through the matter's intrinsic potential for regular and irregular movements. A second installation revisits the visual principle of nomadic tents. Yet the lines of this temporary, mobile, adjustable dwelling find an analogy with the silhouette of mountain tops, alluding to its volumes and contours. Mel O'Callaghan uses the potential of the taut canvasses to create variations in shape and a state of uncertain stability that postpones a notion of rupture. The properties of the matter are utilised and pushed to their limits in a play-off between the changing and the immutable. In the artist's latest film the camera follows the contours and muted colour of a vast and treacherous environment where a figure - apparently lost in this boundless space - can be seen. Unnarrated, the figure's seemingly random movements are lost in the infinite environment in which he finds himself but which somehow eludes him. Nature, bleak although peaceful, is ultimately impregnated with the human condition that it encompasses and remodels continually. In Mel O'Callaghan's work, a slow process of change, stretched out in time and space, emerges as a revealer of material substance, showing the instability of form, but also a cyclical constancy in the transition from one state to another. The human element is all but absent, although present metaphorically through the internal systems of these kinetic works. The viewer observes these phenomena within the exhibition space, but, while he experiences them, he is not subject to the consequences of the interaction between a natural force and the human will to control nature. Despite the monumentality of these works, a certain intimacy is established between the spectator and the piece recapturing the model of the human condition: unstable and in a permanent state of flux. The artist will be showing one of her latest sculptural installations at the annual festival 'Printemps de Septembre' in Toulouse. (September 21th to October 14th, 2007). She lives and works in Paris. galerie schleicher+lange 12 rue de picardie 75003 Paris Image: Mel O'Callaghan 'weight unknown', 2007 installation: brumisators unltrasounds, ventilators, water, irrigation system dimension variable Courtesy of galerie schleicher+lange, Paris schleicher +lange, Paris Read on... galerie schleicher+lange, Paris

Max Wigram Gallery Ridley Road, London Cory Arcangel (beige) Request for comments 6 Oct - 16 Dec 2007 Max Wigram Gallery is pleased to present a solo exhibition by New York-based artist Cory Arcangel. Creative "hacking" is what Arcangel is, perhaps, most renowned for. From Mario Brothers to Pope John Paul II, and the Beatles to the pop Indie film Dazed and Confused - Arcangel co-opts popular media and culture, manipulating these "new" platforms and media to subvert his subjects to the expectant whims of a growing audience of (often irreverent) Internet and media-savvy consumers. Arcangel's work represents a shift in how artists and consumers alike are interacting with the world around them. By utilizing the Internet as a vehicle for the proliferation of his mutations, Arcangel's ideas can make the rounds in a fraction of the time as would have been possible years ago. Arcangel brings the viewer into this (now) familiar world and exposes the ease to which that world can be compromised. Though this is not to say Arcangel has a utopian view of technology, but rather, quite the opposite. His work often points out that technology-based artwork never achieves it goals. Permanent Vacation, the centrepiece of the exhibition, is a new multi-channel work featuring two large-scale projections of computers running Microsoft Outlook in an unending exchange of 'out of office replies.' In a play on video installation, and video minimalism, Permanent Vacation is emblematic of Arcangel's work: it is both frustrating and humorous. Photoshop Gradient and Smudge Tool Demonstrations is a new series of glossy prints made from the default backgrounds that come with the ubiquitous graphics software Photoshop. Essentially digital ready-mades, the prints make no attempt to escape the aesthetic of the tool that was used to create them. In a more compositional piece, Sweet 16, Arcangel has appropriated the intro guitar line from Guns n' Roses song Sweet Child O' Mine and has applied the 1960's avant-garde compositional concept of phasing to the clip by shortening one video by a note. As the videos loop, the two intros grow farther apart until they are back in sync 17 minutes later. Another video work, features vintage footage of the Beatles from their first US press conference, although in Arcangel's version there is a laser pointer focused between Paul's eyes. Arcangel also plays with notions of display and installation in works such as Plasma Burn. Plasma Burn is just that, an image - in this case, the description of the work, which in time burns itself into the screen. As the monitor burns it becomes a sculptural object. Artist, Musician, DJ, and Computer geek, Arcangel is a frequent collaborator of like-minded people: the Beige Programming Ensemble, which Arcangel co-founded in 1998, and the Paper Rad Art Collective. Coinciding with his exhibition at Max Wigram, Tha Click is a group show at E:vent Space featuring various works and collaborations by members of both groups (opening 5th October, 7pm). Arcangel (b. 1978, Buffalo, US) lives and works in New York. This year forthcoming solo exhibitions include a UK touring commission by Film & Video Umbrella which will be shown at the Northern Gallery for Contemporary Art, Sunderland (December), Spacex Exeter (December) and Castlefield Gallery, Manchester (February, 2008)). Recent group exhibitions include: Automatic Update at the Museum of Modern Art, New York; Time Frame at P.S.1 Contemporary Art Center, NY (2006); the 2004 Whitney Biennial and Greater New York at P.S.1/MoMA, NY (2005). He has also had a solo exhibition at migros museum für gegenwartskunst, Zürich (2005) and participated in group exhibitions at The Museum of Modern Art, The New Museum of Contemporary Art, and at The Guggenheim Museum. Max Wigram Gallery Ridley Road 51-63 Ridley Road London E8 2NP Image: Cory Arcangel I Don't Want to Spoil the Party 2007 Projection from a digital source dimensions variable Courtesy of the artist and Max Wigram Gallery Max Wigram Gallery, London Read on... Max Wigram Gallery Ridley Road, London

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