March 13 – April 17, 2010

apexart

Sinudom Silk Screen Factory
35/21 Moo 1, Sakaegnam Road
Samaedam, Bang Khun Thian
Thailand

Franchise Two: “free size” **
Curated by Logan Bay

Participating artists: Alvaro Ilizarbe, Jen Stark, Juan Angel Chavez, and P7

“In a mass produced world of global goods, the act of creation is often lost or forgotten. Hidden machinery cranks and sweats out elements of our everyday life, yet we rarely glimpse the environment where ideas are physically forged. To produce the exhibition free size artists Alvaro Ilizarbe, Jen Stark, Juan Angel Chavez, and P7 will work directly in the Sinudom Silk Screen factory along side employees creating works of art. By bringing these contemporary artists into a global manufacturing hub the realms of production and creation will exist in a simultaneous space, transforming this modest factory into an active generator of creative capital. The Sinudom Silk Screen factory is located on the edge of Samut Sakhon a province that houses many factories. Over the past few decades Thailand has worked to become a producer of exportable goods and inexpensive items for domestic use. While the manufacturing machinery is abundant, many of the products are designed elsewhere. free size will encourage viewers to see that industrial spaces can also be incubators for creative thought and social evolution.

** For Franchise Two we excluded submissions for exhibitions to take place in large cities like New York, Rio de Janeiro and Tokyo, to focus on locations with less than 500,000 people — places such as Moshupa or Priboj, Baton Rouge or Lübeck, Cadiz or Az-Zawiyah, Heidelberg or Zinder. In response we received 243 exhibition proposals from 63 countries, and jurors submitted over 5,000 votes to identify a winner.”

Opening reception: March 13, 2-6 pm

[Text and graphic from apexart. Cross-posted to The Data Stream.]

Are you sick of being bombarded by countless advertisements in your daily life?

Do you want to check your email or look up the definition of epistemology without being lured into a dating site or convinced of some obscure disease that you don’t actually have (and obviously don’t need insufficiently tested prescription drugs for)?

Well fret no more.

Add-Art has saved the day.

Add-Art is a FireFox add-on which not only blocks internet ads, but replaces those ads with thoughtfully curated art exhibitions, commonly with social change themes.

Add-Art is an open source project and is run on a day-to-day basis by Hana Newman and Steve Lambert.

Go to http://add-art.org/ to add it to your FireFox or just to check out the very fitting current exhibit:

Merchandise (you are not what you own):

“The artists in this show appropriate and subvert the language of marketing, using its tools of photography, costuming and set dressing, digital manipulation, and data tagging. By copying these strategies, they create transparency where obfuscation is usually found. By bringing the sublimated messages of consumer culture into question, these artists offer the possibility of a more critical engagement with the image.”

Curated by Anuradha Vikram

Enjoy detournement, not marketing, and make better use of your space, time, and eyes.

SPACES
2220 Superior Viaduct
Cleveland OH 44113
216.621.2314

January 29–March 26
” … in a most dangerous manner”

Curated by Steven Lam and Sarah Ross

“‘… in a most dangerous manner’ serves as a working research archive that demonstrates how ‘economic crises’ have often been used to restructure and restore class divisions. The exhibition seeks to recast current economic conditions as not quite a crisis, a temporal anomaly, nor a failure in governmental regulations, but as a cycle common to the last 150 years of American (and increasingly global) financial markets. Employing abstraction, metaphor, and narrative, the artists inject their work into current discussions surrounding economic recovery and stability, while imagining potential exits from this system.

Featuring projects from a mix of emerging and established national artists, “…in a most dangerous manner” showcases art, a publication, found objects, documents, screenings, performances, and town-hall discussions. The exhibition presents work that names and locates the various physical and material sites that have been invested, degraded, and subsequently contaminated by a culture of market-driven speculation.

Artists presenting in the exhibition include Sabine Bitter and Helmut Weber, Julia Christensen, Elaine Gan, Benj Gerdes and Jennifer Hayashida, Lize Mogel, Claire Pentecost, Ohio University School of Art Critical Regionalism Initiative (Kainaz Amaria, Matthew Friday, Ray Klimek, Jeff Lovett, Yates McKee, Jason Nein, Spurse), Katya Sander, and Allan Sekula.”

[Text and graphic from Spaces website. Caption: "Image courtesy of Claire Pentecost." Cross-posted to The Data Stream.]

The Banff Centre
Walter Phillips Gallery
Glyde Hall, St. Julien Way
Banff, Alberta, Canada

January 30 – April 18
Ragnar Kjartansson: The End

“A self-described radical post-romantic, the Icelandic artist Ragnar Kjartansson traveled westbound towards the Rocky Mountains in search of the epic. Working primarily as a performance artist, Kjartansson is known for his spectacular and humorous stagings of extreme character types, from the knight and rock outcast to the lonely crooner. In Banff the artist sought to create a cacophonic folk-country music video in the guise of a Davy Crockett-clad outlaw. Drawing on the nostalgic representations of nature found in sources as varied as paintings by Caspar David Friedrich and the cover of the Supertramp album Even in the Quietest Moments, his work is a dramatized engagement with Canada’s frontier.

The End — Rocky Mountains is a five-channel video installation synched together as a single disfigured country music arrangement in the chord of G. Produced with the support of The Banff Centre for the Icelandic Pavilion at the 53rd Venice Biennale, the piece was developed by Kjartansson in collaboration with Icelandic musician Davíd Thór Jónsson at the Centre in February 2009.”

Artist’s Talk: January 28, 4 p.m.
Opening Reception: January 29, 7 p.m.
Country & Western Hour: Friday, January 29, 9:30 p.m.

[text and graphic from gallery website. Caption: "Ragnar Kjartansson production shot The End (2009) Photo: Laura Vanags. Courtesy of the artist, Luhring Augustine, New York; and i8 Gallery, Reykjavik." Cross-posted to The Data Stream.]

Nevada Museum of Art
160 West Liberty Street
Reno

Center for Art + Environment

Lucy Raven: China Town

“Begun while working as an artist-in-residence at the Center for Land Use Interpretation, Lucy Raven’s video “China Town” traces copper mining and production from an open pit mine in East Ely, Nevada to the Yangtze River in China, where the semi-processed ore is sent to be smelted, refined, and spun into wire and used to electrify the nation. The video consists of an animated sequence created from more than 7,000 photographs, along with ambient sound that Raven recorded along her journey across the globe. China Town offers a stunning view of the relationship between the industrial landscapes of two countries, whose economies are intimately linked due to China’s increased demand for resources and electricity.”

Through May 9

Matt Coolidge, Center for Land Use Interpretation Director, will be part of CCAI’s March 2010 Nevada Neighbors project, and will give a public talk on Wednesday, March 31 at 7 pm at the Carson City Library.

[Text from Museum website. Graphic from Mass MoCA web site. Click on image to enlarge.]

“Worried about Climate Change? Don’t sweat it.” That’s the motto of Survivaball, the world’s first personal survival orb, designed specifically for safeguarding whoever can afford it from the calamities of climate change. Its creators promise it will “ensure human continuity for generations to come.” Here’s a promotional video.

The Survivaball cools, heats and hydrates its occupant with a fluid recycling mechanism. The inflated ball is suited for all weather extremes, from floods to droughts, the kinds of catastrophes a warming world will bring. The Survivaball is an ingenious device indeed, sure to bounce off shelves as soon as it’s ready. Here’s a cross section of the remarkable invention:

Here’s  a safety card describing the Survivaball’s capabilities.

In case it isn’t clear yet, this Survivaball thing is a joke. It’s the work of The Yes Men, a troupe of artists dedicated to “impersonating big-time criminals in order to publicly humiliate them. Targets are leaders and big corporations who put profits ahead of everything else.” A recent spoof website of theirs skewered the Canadian government’s sluggish response to climate change and they punked an entire conference full of Halliburton big-wigs by bringing out Survivaball’s as a real option for confronting climate change. Here’s the result an article on their website details. A picture of one of Halliburton’s suckers actually wearing a Survivaball is below:

It’s both unbelievable and unsurprising that these corporate types didn’t realize that something was up. Nevertheless, Halliburton rarely misses an opportunity to display greed and cowardice. So I guess this prank was a success for everybody.

Gallery Poulsen in Copenhagen hosted an exhibit of Survivaballs during the CoP15. I was lucky enough to wear one, a prototype. It’s basically an air-tight bag with a fan inside that keeps the ball inflated. Here’s what I looked like.

So there you have it, the Survivaball. Were it cheaper and, well, a real thing, its invention might be good news. Unfortunately, this is not the case and the take-home message remains a humorous but bittersweet one. Sadly, the Survivaball only serves to reveal how venal corporate lunkheads can be.

Skuc Gallery
Stari trg 21
SI – 1000 Ljubljana
Slovenia
ph: + 386 1 251 65 40

23 December – 15 January 2010
Removed from the Crowd:
The Fate of Outer Planets

Concept: Ivana Bago and Antonia Majaca
(Institute for Duration, Location and Variables – DeLVe)

“Removed from the Crowd / The Fate of Outer Planets is a curatorial/art-historical piece based developed through an ongoing research that considers the phenomenon of the New Artistic Practice in the Socialist Republic of Croatia during the 1960s and 1970s outside the context of the analysis of the actual artistic production of that time, involving new elements and fragments with each new presentation.

The first phase of the long-term project was the publication Issue-ing the Revolution published as the 83rd issue of the Life of Art Magazine/Zivot umjetnosti with contributions by Jens Kastner, Waler Seidl, Marco Scotini, Maroje Mrduljaš & Srecko Horvat, Jelena Vesic & Dušan Grlja, Sezgin Boynik, Artur Zmijewski, Maja & Reuben Fowkes, Hedvig Turai and the editors Ivana Bago & Antonia Majaca (hart.hr/izdanja/zivot-umjetnosti), while the second phase eveloved as the educational program Kustoska platforma comprised of 10 monthly seminars with the students of art history in Zagreb initiated in Spring 2008 and focusing on the history of curatorial and exhibition practices Croatia.

The first ’staging’ of the project, presented earlier this year in Belgrade in the framework of the exhibition Political Practices of (Post) Yugoslav Art focused on the modes of collaborative work of artists and the forms of self-organisation while the second one, at ŠKUC Gallery, includes a new chapter focusing on progressive curatorial strategies and innovative exhibition models during 1960s and 1970s.

Fragment 1: New Collective Practices – Artists’ Association Beyond Manifesto and Program stems from a consideration of the three-year activity of the Podroom Working Community of Artists. Podroom, an artists-led space initiated by Sanja Ivekovic and Dalibor Martinis, was a working and exhibition space that between 1978 and 1981 brought together the key figures of the New Artistic Practice. A transcript of a conversation (a working meeting) held in Podroom and published in the ‘catalogue-journal’ First Issue (1980) serves as a point of departure for the rendering of narrative about self-organised artistic initiatives and the history of associations from Gorgona Group at the beginning of the 1960s to the establishment of the artist –run PM Gallery in Zagreb in 1981. What is common to all the initiatives, irrespective of their duration, is the specific, non-programmatic and organic manner in which they group together around an only adumbrated common goal. The fragment focuses on temporary manifestations of collectiveness, on models of ‘being singular plural’ or more exactly, on being-with as a search for a different understanding of the relation between individual and collective, but also for the point of a collective itself and the possibility of a joint programme.

Fragment 2: New Curatorial and Exhibition Practices brings the focus to innovative curatorial and institutional practices with the special attention given to the projects initiated and curated in the 1970s by Ida Biard in Zagreb and Paris. Selected curatorial projects, as well as institutions and informal spaces in which they took place, are here not seen merely in the role of mediators who present artistic products to the audience, but as the active protagonists and initiators of innovative approaches to contemporary art, whether these concern the New Tendencies movement, early conceptual art of the 60s or the New Artistic Practice of the 70s.

The title Removed from the Crowd (taken from the title of a piece by Mladen Stilinovic from 1979) thus becomes a signifier not only of the differentiation of the ‘associated individuals’ as against the ideologically propagated collectivity but also a signifier of the actual methodology.

Accordingly, the intention of the project is not the creation of a ‘convincing’ and scientifically well-grounded historical or art-historical narrative – it aims rather to indicate an associative cartography functioning as memory script, a map that selects the facts about processes, methodologies and situations considered to be relevant for us today as well as from a series of speculations derived from the enlargement of details, deliberate omissions, arbitrary connections, all in the aid of articulating a different viewpoint, a temporary and unstable truth through a different ‘performance’ of the writing of the history of contemporary art.

Skuk

[Text from e-art now. Graphic from Skuk website. Cross-posted to The Data Stream.]

Blank Projects
113-115 Sir Lowry Road
Woodstock
Cape Town 8001
South Africa

Candice Breitz
Babel Series

“The Babel Series consists of seven constantly stuttering DVD loops. Each steals a fragment of footage from the history of music video. The content of each video is relentlessly simple and literally monosyllabic: the seven different moments are appropriated from various pop performances (the line-up ranges from Madonna, Wham and Grace Jones to Queen, Prince, Abba and the Police). Each of the seven moments is then trapped in repetition as it is looped endlessly and noisily before the viewer on a series of television monitors. The seven loops play simultaneously in the space of the installation, creating a cacophonous babble that allegorically echoes the biblical story from which the work takes its title. What the seven videos have in common – beyond their reflection on narcissism and their deliberate choice of ambiguously-gendered stars – is that each evokes the primary building blocks of language. Together, the videos bang a millennial baby talk out of a series of dissonant beats,a baby talk that approaches sheer pandemonium.”

The installation at Blank Projects, on view through January 8, 2010, is part of Dada South? an exhibition curated by Roger van Wyk & Kathryn Smith at the South African National Gallery.

Dada South? draws together a range of works by South African artists dating from the 1960s to the present, representing a range of avant-garde positions in the aftermath of Dada. South African art production is understood not simply as by-products of western avant-garde practices, but as drawing selectively and even randomly on these practices to articulate specific, local conditions. Through an eclectic collection of material, imaginary and intellectual work of our recent history, the exhibition proposes a review of the ambivalent relationship between cultural creation and political resistance.”

[Text and graphic from Blank Projects website. Caption: "Candice Breitz, Babel Series, 1999, DVD Installation: 7 Looping DVDs, Installation view: O.K Center for Contemporary art, Linz. Photograph: Jason Mandella." Cross-posted to The Data Stream.]

The COP15 Conference, the  meeting in Copenhagen for countries party to the United Nations Framework Convention (UNFCC) on Climate Change, has begun in earnest. With it, a flood of foreigners has washed ashore in Denmark, among them NGOs, IGOs (Intergovernmental Organizations), the Press, and delegates from UNFCC signatories. Among them, unfortunately, is not your correspondent, Wilson Dizard, the one writing this blog post from Copenhagen. Others are in a similar position, and not just due to the fact that the they basically accredited twice the number of people the conference center can hold.

Nevertheless, there are plenty of interesting things going down around town that concern the arts of social change. Here are the first photos of the acts at the conference.

Alright, this is a picture of a ice flow in Iceland, where I had a rather long lay over. Iceland’s endangered glaciers are a topic of discussion at the Conference, as you might imagine.

The Bella Center. The world will have to wait to see what kind of substance, if any, might manage to emerge from this building a fortnight from now. Look at the cranes in the background, evidence of economic development chugging along. And then there’s a wind turbine, too. To be sure, Denmark is a land of contrasts.

(more…)

Southern Alberta Art Gallery
601 Third Avenue South
Lethbridge, Alberta T1J 0H4
Canada

November 28 – January 17, 2010
Decorate and Protect
Mary-Anne McTrowe

Opening Reception: Saturday, November 28 | 8 pm

Prevalent throughout the domestic decorative arts, the tea-cozy remains an oft-visited tradition for novices and seasoned practitioners alike. Knit, crocheted or quilted, the purpose of the object is two-fold – it functions as an insulator keeping the tea warm, and is also a decorative and creative expression of its maker. Extending its utility, artist Mary-Anne McTrowe embraces the ‘cozy’ as a device to approach ideas of domestic production, protection, and decoration.

more

[text and graphic from gallery website. Caption: "Cozies for Destroyed Lethbridge Landmarks: Capitol Theatre." Cross-posted to The Data Stream.]