Hi Mr. Davis Lisboa,

I saw your impressive art works online and like them a lot.

Therefore, I’d like to invite you to participate our current
international art competition.

Our well-known International Art Competition (I.A.C.) has now
jointed force with Art Revolution Taipei (A.R.T.) which is the
most important contemporary art fair and platform in Asia. It is
a Free Entry competition via Email submission. And it definitely
will be a great chance for you to show your innovative art works
to over 25,000 art lovers, collectors, galleries, and museum
directors from worldwide once accepted into finalist.

Well, I have been working with artists for 10years and I truly
believe it will be a wonderful SHOW TIME for your talented gift.
You may download the official entry form from
http://www.arts.org.tw/eng/2012reg_eng.pdf .

Please do not hesitate to contact me for any questions.


Sincerely yours,

Andrew Hsu
Exhibitor Relations & Project Coordinator
Art Revolution Taipei 2012 Executive Committee
11F, No.167, Sec.5, Mingsheng E. Rd., Taipei, Taiwan
Tel: +886 2 7743 7788 Fax: +886 2 7743 2333
Email: andrew.hsu@arts.org.tw
Web: www.arts.org.tw

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www.davislisboa.com

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www.davismuseum.com

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paper.li/davislisboa

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Museo Universitario Arte Contemporaneo, MUAC

Enrique Ježik:
Obstruct, Destroy, Conceal
11 June-November 2011

Museo Universitario Arte Contemporaneo, MUAC
Insurgentes Sur 3000
Centro Cultural Universitario
Delegación Coyoacán. C.P. 04510
México D.F.
T +52 (55) 5622 69 39 +52 (55) 5622 69 72
difusion@muac.unam.mx
www.muac.unam.mx <http://www.muac.unam.mx>

? The exhibition displays for the very first time an extensive review of the
works and projects of an artist that has played a key role in the narrative
of
Mexican contemporary art

? It is organized in six sections relating to the concepts of violence
devices, spaces and operations.

In the last two decades Enrique Ježik (Cordoba, Argentina, 1961) has
deployed
a complex work of exploring the structures and devices of power,
surveillance,
repression, control and violence, from within the polymorphic practice of
contemporary sculpture. For this artist, sculpture is a way of thinking
power
and violence as a stubborn drive on body matter. His performances, videos,
and
specific interventions that involve tactics--ranging from the use of bullets
to
Braille writing--testify to a historical period where the means of
destruction
and control technologies create the spaces, metaphors, devices and paths of
politics.

The exhibition Enrique Ježik: Obstruct, Destroy, Conceal displays for the
very
first time an extensive review of the works and projects of an artist that
has
played a key role in the narrative of Mexican contemporary art.

Organized in six sections relating to the concepts of violence devices,
spaces
and operations ("Obstruction," "Destruction," "Concealment," "The Enemy's
Body," "Operations Theater" and "Sacrificial Constructivism"), the
exhibition--curated by Cuauhtémoc Medina--travels over the territory of
objects,
forces and images, put together by Ježik while musing on the symbolic and
technical relationship of sculpture with domination devices.

The keenest focus of Ježik's recent work has been the exploration of visual
and physical power, and both the iconography and the effects of the weapon
as
a prosthesis of the body and an instrument of destruction. The weapon
appears
in his work in a multiple sense: as an equivalent predecessor to the
sculptor's hammer and chisel of the sculptor and as a sculptural artifact of
power and violence. While the use of rifles and pistols has long been
present
in art--all over the second half of the twentieth century--Ježik emphasizes
the
physical dimension of arms as a historical and aesthetic vector.

"We live, in a single schizophrenic gesture, in a civilization
simultaneously
obsessed with and haughtily indifferent to violence," said Cuauhtémoc
Medina.
"We live in a historical period where the political alternatives are
dissolved
and the main purpose of society would seem to be security and control, where
power claims to exist in order to address the alleged proliferation of
internal and external enemies, managing and consciously or unconsciously
transforming all social conflict in a military or law enforcement issue.
This
climate is the political moment outlined in Ježik's work, not in offering
tactics to escape this hegemony, but in witnessing it through sensitive
operations."

Complementing the exhibition, MUAC will release the book Enrique Ježik:
Obstruct, Destroy, Conceal, a comprehensive collection of the works of the
Argentinean-Mexican sculptor. Edited by Cuauhtémoc Medina, this highly
illustrated volume includes an interview and philosophical, historical and
aesthetic essays by José Luis Barrios, Néstor García Canclini and David
Goldberg.

Enrique Ježik: Obstruct, Destroy, Conceal is part of the core exhibitions
within Fantasmas de la libertad (Ghosts of Freedom), a cycle that gathers
artistic proposals that not only suggest specific points of view, but engage
in taking a stance with regard to current common conflicts throughout Latin
America.

Kunstmuseum Stuttgart

Amie Siegel. Part 1. Black Moon
5 July­23 October 2011

Kunstmuseum Stuttgart
Kleiner Schlossplatz 1
70173 Stuttgart
Germany
T +49 (0) 711 / 216 21 88
Twitter: @kunstmuseum
info@kunstmuseum-stuttgart.de

The Kunstmuseum Stuttgart presents Amie Siegel's recent work "Black Moon,"
the
first installment of a two-part exhibition. In spring 2013 Siegel will
return
to the Kunstmuseum to exhibit a new work on film.

Ranging from photographs, video, film installations, and feature films for
the
cinema, Siegel¹s artwork re-orientates the fictions within documentary
practices, often doubling back on history through the specific patterns of
cinematic choreography and architecture. In her multipart works for
exhibition, Siegel takes seemingly disparate filmic elements, often derived
in
part from archives and her own filmed images, and arranges them in an
accumulative constellation, a method of associative montage that, in her
cinema films, unfolds and recurs subtly over time. These gradual gatherings
within and between works suggest montage is a third thing that, as the
artist
has written, "unfolds in us."

The heart of the first part of this double exhibition is the film Black Moon
(2010), shot on super-16mm film and transferred to HD. An enigmatic story
evolves without dialogue, a group of armed women comb through deserted,
unfinished developments of luxury homes&lsqauo;evidence of the US mortgage
crisis&lsqauo;the
landscape alternating as setting and subject of a mysterious and
inexplicable
future war. The women, at times highly styled, go through various
psychological as well as physical stages of an apocalyptic civil war whose
background remains unclear. Siegel draws on stylistic devices traced from
different film genres: science fiction, action, the western. Her original
point of reference is Louis Malle's 1975 film of the same name. Siegel
translates key motifs from Malle¹s surrealist gendered war into a
contemporary
iconography both allusive and uncanny.

These methods of transposition, remake, reenactment and doubling play an
important role in Siegel's body of work, and reverberate in the second
element
of the artwork, Black Moon/Mirrored Malle (2010), a two-channel video
installation. Here a 1975 film interview with Louis Malle concerning his
Black
Moon is confronted with a reconstructed version of the interview. In this
contemporary "documentation" the artist plays the part of the auteur,
discussing "the making of." The fractures produced by the exchange of
gender,
language (English/French) and inverted setting generate the effect of a
mirror
in which the cultural codes of the time become visible.

Siegel links the events of her film with a reflection on the formal aspects
of
the medium, the overlay of fiction and documentation, in the third part of
the
project: Black Moon/Hole Punches (2010). A series of photographs derived
from
the moment when film is transferred to video and the laboratory punches a
hole
into the film negative as a synchronization point, the image later
discarded.
Siegel printed the hole-punched frames from the digital transfer of her
Black
Moon dailies. The dark irregular voids shot through her landscape
photographs
appear as gunshot remnant or threat-ening black moon. They are allegories of
the film's narrative as well as relics of the material basis of the film.

Black Moon screened in the Cannes Film Festival¹s 2011 Semaine de la
Critique.
The Kunstmuseum Stuttgart show is the first museum presentation of the
entire
ensemble of Black Moon works. The double exhibition extends Siegel¹s
concerns
with mirroring and reprise, suggesting a rebounding line of thought between
the two installments of the exhibition over time.

Amie Siegel has exhibited in group shows in North America and Europe
including
The Talent Show, MoMA/PS1, New York; Walker Art Center, Minneapolis; Another
Point of View, La Galerie, Noisy-le-Sec, France; The Russian Linesman,
Hayward
Gallery, London; 2008 Whitney Biennial, Whitney Museum of American Art, New
York, and Forum Expanded, Kunst-Werke, Berlin. Her single channel videos and
feature-length films have been shown widely including at the Museum of
Modern
Art, New York; Cannes Film Festival, Berlin International Film Festival, New
York Film Festival, BFI Southbank and the Harvard Film Archive. She has been
a
fellow of the DAAD Berliner-Künstlerprogramm, the Guggenheim Foundation and
the recipient of the ICA Boston¹s 2010 Foster Prize.

Amie Siegel. Part 1: Black Moon is organized by Simone Schimpf, Curator.
Further support provided by Akademie Schloss Solitude, Stuttgart.

ArtTerritories

Designing Civic Encounter
July 21­24, 2011
Sharek Youth Forum, Ramallah

Symposium . workshop . tour

Yazid Anani (Ramallah), Shumon Basar (London), Taysir Batniji (Gaza), Suhad
Bishara (Haifa), Teddy Cruz (San Diego), Rami Daher (Amman), Hangar
(Beirut),
Alessandro Petti (Beit Sahur), Muhammad Shtayyeh (Ramallah), Omar Yousef
(Jerusalem).

Curated by Shuruq Harb and Ursula Biemann
ArtTerritories

Designing Civic Encounter is a series of interventions engaging in existing
and potential forms of urban development and public culture. The event will
unfold through a bus tour traversing urban locations within and around
Ramallah city enabling debates and conversations at different stations, a
two-day symposium on questions of urban transformations in Palestinian and
other Arab cities, and a full day workshop with visionary social architect
Teddy Cruz.

Inspired by ongoing dialogues on ArtTerritories' website and by the wider
civic movements in the region, ArtTerritories proposes an open forum for the
inquiry and discussion of the public urban experience under the current
trends
in planning, financing and building practices. Although Ramallah is a
relatively small city, it has experienced radical urban expansions and
population growth since the signing of the Oslo Accords in 1993 and the
consequent establishment of the Palestinian Authority in 1996. Real Estate
is
the main target for foreign corporate investment today. What kind of living
space do these investments create?

The bus tour will highlight a number of distinctive urban landscapes that
can
be considered emblematic of wider political issues taking place in
Palestine.
In a close reading of contemporary urban restructuring in the region, the
symposium brings to light that the Palestinian context is not as unique and
isolated as it may appear but in fact shares many commonalities with rapid
developments in Beirut, Amman and Dubai.

The project is conceived as a vibrant multimedia laboratory of ideas and
debate. During four days, the city will be under investigation through
cultural and artistic initiatives, innovative research projects and
political
visions.

Attracting an active local and international roster of architects, artists,
educators, environmentalists, community activists and politicians, the
public
event hopes to be a catalyst to produce new civic imaginations and
alternative
urban policies towards a more inclusive social sustainability.

A digital publication will be made available at www.artterritories.net
<http://www.artterritories.net> at a later date.

English and Arabic

Free Admission

The project is initiated and produced by ArtTerritories, online publishing
platform for Art and Visual Culture in the Arab World co-founded by Shuruq
Harb and Ursula Biemann.

For more information or if you wish to receive the program folder, please
contact info@artterritories.net

Museum Boijmans Van Beuningen

Complete transformation for Rotterdam's
Submarine Wharf
Elmgreen Dragset
The One The Many
28 May­25 September 2011

The Submarine Wharf in the harbour of Rotterdam went through a surreal total
transformation. This metamorphosis is the responsibility of Elmgreen
Dragset
who realised the large-scale art project, organised by Museum Boijmans Van
Beuningen and the Port of Rotterdam.

The art duo Michael Elmgreen (Denmark, 1961) and Ingar Dragset (Norway,
1969)
have created a vast exhibition featuring a specially designed block of
flats,
an abandoned funfair ride and numerous other elements. The exhibition 'The
One
The Many' transforms the 5000m2 former Submarine Wharf into a deprived
neighbourhood with a sinister atmosphere. These are the fringes of society:
a
tough underworld with dubious characters and shocking activities.

Thanks to the exhibition 'The One The Many' this summer all eyes are once
again focused on the RDM complex in Rotterdam's harbour. Until 2014 Museum
Boijmans Van Beuningen and the Port of Rotterdam are collaborating on a
series
of large-scale art projects in the Submarine Wharf. The series kicked off
last
year with Atelier van Lieshout's exhibition 'Infernopolis', which De
Volkskrant called 'this summer's absolute art hit'.

It's never too lateŠ
The work 'It's Never Too Late to Say Sorry' by Elmgreen Dragset is also on
display elsewhere in Rotterdam. The work consists of a glistening display
case
on a dark granite plinth, housing a polished stainless-steel megaphone. Each
day, just before midday, a person will appear, open the door in the case and
remove the megaphone. At exactly twelve o'clock the person will exclaim
through the megaphone the short and simple phrase: 'It's never too late to
say
sorry'. This 'performance / sculpture' will be performed daily in Rotterdam
for at least a year. The work was commissioned by Sculpture International
Rotterdam.

Highly praised
Elmgreen Dragset have worked together since 1995. They live in London and
Berlin. Their art works express their critical relationship to Western
consumer society. In 2006 the duo produced the widely praised exhibition
'The
Welfare Show' at the Serpentine Gallery in London. In 2009 they presented
'The
Collectors' at the 53rd Venice Biennale and in 2010 'Celebrity ­ The One and
the Many' at the ZKM in Karlsruhe. In 2003 they won the prestigious 'Preis
der
Nationalgalerie für Junge Kunst' and in 2009 they received the 'Special
Mention' at the Venice Biennale. Elmgreen Dragset have been selected to
create
a sculpture for the 'Fourth Plinth' in Trafalgar Square in London in 2012.

Turbine Hall versus Submarine Wharf
More than 20,000 people visited the Submarine Wharf in 2010. The press and
the
public compared the Submarine Wharf from 1937 with the Turbine Hall at Tate
Modern in London. The Submarine Wharf in the RDM complex is one of the Port
of
Rotterdam's initiatives to bring the public into closer contact with the
harbour.

This exhibition in the Submarine Wharf has been organised by the Port of
Rotterdam and Museum Boijmans Van Beuningen, with a special contribution
from
the BankGiro Loterij and the Municipality of Rotterdam.

Note for editors
For more information and images please contact the Marketing and
Communications Department, telephone +31 (0)10 441 9561 or
pressoffice@boijmans.nl. On publication please mention: www.boijmans.nl
<http://www.boijmans.nl> .

For information about press previews and interviews:
http://www.boijmans.nl/en/384/perspreviews.
For more information about the Submarine Wharf and the RDM complex: Sjaak
Poppe, Havenbedrijf Rotterdam, +31 (0)10 252 1427,
s.poppe@portofrotterdam.com
www.onderzeebootloods.nl <http://www.onderzeebootloods.nl>

NAIM / Bureau Europa

Stroom den Haag and NAIM / Bureau Europa are pleased to announce the opening
of a new Time/Store in Maastricht, from July 17th though October 2, 2011.

All across Europe, we are suddenly being told that we are too poor to afford
culture, but we are not poor. Many of us are artists, writers, curators,
teachers, filmmakers, designers, and architects, and we have knowledge and
skills. We can self-organize.

The dismantling of public funding for critical culture in the Netherlands in
particular has made it urgent and necessary to develop new support
structures
if critical culture is to remain viable and vibrant. Alternative economies
and
other mutual aid systems may be one of the ways by which independent
organizations and cultural producers may persevere.

Last May, Stroom Den Haag opened the Dutch branch of the e-flux Time/Bank, a
platform and community for the cultural sector through which goods and
services can be exchanged internationally by using time as a denomination of
exchange. As cultural producers, we often do things without the use of
money,
and the Time/Bank is a tool to amplify this ability&lsqauo;based on the premise
that
everyone in the field of culture has something to contribute, and that it is
possible to develop and sustain an alternative economy by connecting
existing
needs with unacknowledged abilities.

Time/Store follows the historic Cincinnati Time Store, opened by American
anarchist Josiah Warren in 1827 as a three-year experiment in alternative
economics. Warren's idea was to develop an exchange system in which the
value
assigned to commodities would come as close as possible to the amount of
human
labor necessary to produce them. For example: 8 hours of a carpenter's labor
could be exchanged for eight to twelve pounds of corn. This system
eventually
led to the creation of time currency, and to contemporary time banking&lsqauo;an
international alternative economic movement. We strongly feel that the
Time/Bank and other mutual aid systems have the potential to become one of
the
ways in which an independent critical space can be reclaimed by those who
produce it.

Stroom Den Haag, an independent foundation founded in 1989 and a centre for
art and architecture, brought the Time/Bank to the Netherlands. The Dutch
Time/Bank community is growing fast: this weekend a branch of the Time/Store
will open at NAIM/ Bureau Europa in Maastrich. This launch is part of the
exhibition "Re-Action! Sustainability through Social Innovation" organized
by
REcentre, a platform for sustainable design.

To join Time/Bank, please go to www.e-flux.com/timebank
<http://www.e-flux.com/timebank>

NAiM / Bureau Europa
Avenue Céramique 226
(adjacent to the Bonnefantenmuseum, entrance at Daemslunet)
6221 KX Maastricht
The Netherlands

E info@bureau-europa.nl
T +31 (0)43 3503020
F +31 (0)43 3503021

Opening hours:
Tuesday­Sunday, 11.00­17.00

Busan Biennale

Busan Biennale Organizing Committee

38, Busan Asiad Main Stadium, Worldcup St.
123 Yeonje-Gu
Busan 611-809, Korea
T 82-51-503-6111 / F 82-51-503-6584

The Busan Biennale Organizing Committee has appointed Roger M. Buergel
(artistic director of Documenta Ⅻ Kassel) as the artistic director of Busan
Biennale 2012.

Buergel is a seasoned exhibition organizer born in 1962 in Berlin. He
received
his education from the Academy of Fine Arts Vienna and studied under the
Australian artist Hermann Nitsch for 3 years. He served as a guest curator
of
the Museum of Contemporary Art Barcelona and the artistic director of
Documenta Ⅻ Kassel. He also curated exhibitions that won critical acclaims,
such as "Barely Something. On Ai Weiwei" (2010, Museum DKM), "The
Government"
(2003–2005, University Art Gallery Luneburg, Museum d'Art Contemporari de
Barcelona, Miami Art Central, Witte de with Center for Contemporary Art,
Rotterdam Secession) and "The Subject and Power" (2001, Central House of the
Art). He taught in Luneburg University (2002–2005, Luneburg) and the Academy
of Fine Arts (2007–2009, Karlsruhe), contributing significantly to the
education of young artists.

Buergel suggested the concept of "Garden of Learning" for Busan Biennale
2012,
in which councils consisting of 10 to 15 citizens and one or two artists
will
be formed. The members of these councils would collaborate with one another
to
produce artworks to be presented at the Biennale. He emphasized that
production of artworks through collaboration not only would provide the
council members with a deep knowledge of and a strong sense of belonging to
the artworks but also could be reproduced as a variety of programs in which
the council members educate the wider audience about the artworks by
explaining or debating the concept of the works. Furthermore, in the process
of collaboration, artists will also gain a valuable opportunity to debate
their proposals with the public and produce artworks that would have a long
and lasting effect on the community. He was also confident that Busan with
its
rich cultural resources as well as its scenic nature is a perfect venue for
such a project and that this project will succeed the public-friendly
tradition of the Biennale, providing the vision for Busan as a city of
culture.

Buergel's concept which can be summed up as a sharing of artists' creative
experience with the public is very significant from the perspective of
communication between contemporary art and the public. He will actively
utilize his know-how in undertaking this project, combining the internal
elements of the city of Busan and the external elements required for staging
the exhibition. Through these efforts, the Biennale will become an
exhibition
that highlights the regional characteristics and uniqueness of Busan from a
new perspective.

Considering the current trends and limitations of the international
contemporary art world, the Organizing Committee focused in selecting the
Artistic Director on whether the candidates came up with an experimental and
fresh concept that would serve as a turning point and provide a new driving
force for the development of Busan Biennale and whether the concepts were in
line with the basic principles and the direction for the long-term
development
of the Biennale, such as popularization of contemporary art, urban revival
and
education. With the newly appointed Artistic Director, the Committee will
begin preparation for Busan Biennale 2012 in earnest, starting from the
establishment of basic exhibition plans and system for organizing the
exhibition.

For inquires contact:
Busan Biennale Organizing Committee
38, Busan Asiad Main Stadium, Worldcup st.123 Yeonje-Gu, Busan, 611-809,
Korea
T 82-51-503-6111 / F 82-51-503-6584 / bbiennale@paran.com
www.busanbiennale.org <http://www.busanbiennale.org>

Kunstmuseum Thurgau

Richard Phillips ­ Adolf Dietrich.
Painting and Misappropriation / Malerei und Aneignung
29 May­28 August 2011

Kunstmuseum Thurgau
Kartause Ittingen
CH-8532 Warth, Switzerland
T 0041 58 345 10 60

Our latest exhibition, Richard Phillips / Adolf Dietrich. Painting and
Misappropriation, presents works by two artists who&lsqauo;at first glance&lsqauo;couldn't
be more different. Massachusetts-born Richard Phillips (1964) has achieved
international fame as a Pop artist, while Adolf Dietrich was a Swiss
Outsider
artist who died in Berlingen in 1957.

The show presents Richard Phillips' large paintings after motifs by Dietrich
alongside the American artist's own selection of Dietrich's works. Their
juxtaposition produces a complex dialogue that defies categorisation.

For the duration of this exhibition, and for the first time ever,
Kunstmuseum
Thurgau will also display one of the most important private collections of
Dietrich's works.

Today Adolf Dietrich is considered not only one of Switzerland's leading
20th
century painters but, curiously enough, a Naive artist also. In contrast,
Richard Phillips is a contemporary painter, whose choice of provocative
themes, unique style and the sheer intensity of his gigantic compositions
push
the medium to its very limits. Phillips paints portraits after material
found
in the public domain, whereas Dietrich's work is entirely focused on the
loving depiction of pristine nature. What brought these two very different
artists together?

Phillips' first encounter with Dietrich's work was due to a chance event at
Zürich's renowned Kronenhalle restaurant, where he had dinner with Swiss
artist Peter Fischli. After their meal Fischli took him to see the paintings
on the upper floor. When they came to Dietrich's drawing, "Two Squirrels,"
Phillips was captivated by its intense presence: "I was deeply moved by its
emotional depth and the subtle detail of observation."

Phillips decided to explore Dietrich's imagery and formal idiom from inside,
as it were, by copying his works. By 2003 he had completed his first
painting
entitled "Similar to Squirrels. After A. Dietrich", the large-format copy of
a
reproduction of Dietrich's 1932 painting also entitled "Two Squirrels".
Phillips has been involved in an intense dialogue with Dietrich's works ever
since.

The show Painting and Misappropriation, co-curated by Richard Phillips and
Gianni Jetzer, was presented last year at the Swiss Institute in New York.
The
actual juxtaposition of these works addresses differences and similarities,
and renders the artists' visions palpable. Dietrich and Phillips both use
the
same subjects&lsqauo;animals, people, landscapes. Also, they stylistically heighten
figuration to a degree of artificiality that goes far beyond realistic
depiction.

The encounter leads to a radical re-interpretation of these works. While
Phillips' art is often criticised for being too literal, Dietrich's art has
been pigeonholed as naive. The process of appropriation throws a new light
on
both oeuvres, underscoring the classical qualities of Richard Phillips'
paintings while revealing the radical qualities of Adolf Dietrich's
compositions.

A richly illustrated catalogue documents the exhibition; essays by Richard
Phillips and Dorothee Messmer, and an interview of the artist by Beatrix Ruf
provide a deeper insight into the artist's motivations for this unique
project.

Works by Adolf Dietrich from a private collection
For the duration of this exhibition, Kunstmuseum Thurgau is proud to present
another highlight&lsqauo;one of Thurgau's most important private collections of
works
by Adolf Dietrich, an impressive assemblage of unique paintings.

Opening hours:
1 May to 30 September: 11am to 6pm, daily
1 October to 30 April: Mon to Fri, 2 to 5pm; Sat/Sun, 11am to 5pm

*Image above:
Courtesy the artist and Gagosian Gallery, New York.
© The artist.

Neuer Berliner Kunstverein

n.b.k. summer concert
BST (Walter Berger / Christoph Schaeffer / Klaus Theweleit)

Neuer Berliner Kunstverein
Saturday, 23 July 2011, 7 pm
Admission free

www.nbk.org <http://www.nbk.org>

BST stands for the initials of the band members' surnames: Walter Berger
(cello), Christian Schaeffer (violin) and Klaus Theweleit (guitar) and
refers
to the 'mad cow disease' BSE. "We prefer to continue using bows for
shredding
(or not) the world of sound. The instruments have been able to take it and
still answer." (Klaus Theweleit, author of cult books such as Male Fantasies
[1987, original 1977] and Der Pocahontas-Komplex [1999])

Current Exhibition
based in Berlin
8 June­24 July 2011

Upcoming Exhibition
Opening: 2 September, 7 pm

3 September­30 October 2011
Kunst und Philosophie (Art and Philosophy)
Exhibtion and lectures

6 September­28 October 2011
Manfred Pernice

Contact
Neuer Berliner Kunstverein (n.b.k.)
Chausseestraße 128/129
10115 Berlin, Germany
T +49 30 2807020, F +49 30 2807019
nbk@nbk.org
www.nbk.org <http://www.nbk.org>

  12/07/2011
 
  Inauguración de la exposición "En el laberinto. Àngels Ribé 1969-1984"
<http://www.macba.cat/controller.php?p_action=show_page&pagina_id=34&inst_id
=2
9708&lang=ESP>
  Un laberinto de diez metros de diámetro con paredes de plástico amarillo
transparente por el que es posible transitar abrirá la exposición de Àngels
Ribé en el MACBA. Es la reconstrucción de la obra que la artista presentó en
1969 en el castillo de Verderonne, en Francia, y también la puerta de
entrada
a la trayectoria artística de Ribé en el periodo comprendido entre finales
de
los años sesenta y mediados de los ochenta. La exposición se enmarca en una
de
las líneas de trabajo del Museo que quiere recuperar aspectos de la labor
realizada por artistas relevantes de nuestro país, centrándose en obras poco
conocidas pero muy significativas en relación con la trayectoria de los
creadores y con el desarrollo del arte contemporáneo catalán. Inauguración:
jueves 14 de julio Fechas de la exposición: del 15 de julio al 23 de octubre
Visita comentada a cargo del escritor Carles Hac Mor: jueves 21 de julio, a
las 19 h Acceso con la entrada al Museo. Salas del Museo. Plazas limitadas
 
  Theo Burt y Ulf Langheinrich en el ciclo de conciertos "Audiopantalla
MACBA:
monocromos"
<http://www.macba.cat/controller.php?p_action=show_page&pagina_id=33&inst_id
=3
0915&lang=ESP>
  El ciclo de conciertos que el MACBA presenta sobre la monocromía prosigue
con los directos de Theo Burt y de Ulf Langheinrich. En los trabajos de Theo
Burt los procesos son visualizados y sonorizados, y así se pone de
manifiesto
la manipulación sistemática de las estructuras que operan en el interior de
cada pieza. Ulf Langheinrich propone creaciones audiovisuales basadas en
grandes composiciones monocromáticas de colores puros y texturas.
Audiopantalla MACBA es un ciclo de conciertos audiovisuales que se enmarca
en
la programación del Grec Festival de Barcelona. Viernes 15 de julio, a las
21
h: Theo Burt Viernes 22 de julio, a las 21 h: Ulf Langheinrich Entrada: 6
euros por concierto. Auditorio MACBA. Aforo limitado
 
  Taller PEI Abierto: "Wikpolis. Cartografías y construcciones colectivas
del
espacio social"
<http://www.macba.cat/controller.php?p_action=show_page&pagina_id=33&inst_id
=3
0969&lang=ESP>
  Dentro de la edición de QUAM 2011 que este año lleva por título Wikpolis.
Cartografías y construcciones colectivas del espacio social, el Programa de
Estudios Independientes colabora en la organización del taller dirigido por
el
colectivo Iconoclasistas. El taller planteará una línea de investigación
colectiva sobre cartografía de prácticas existentes en el territorio,
metodologías de representación y mecanismos para activar nuevas propuestas.
Este colectivo realiza desde 2008 talleres de cartografía colectiva y
elabora
carteles y material gráfico desde los que aborda problemáticas sociales. Del
10 al 15 de julio de 10 a 13h y de 17 a 20 h Diferentes espacios de Vic.
Reservas en línea a través de la página web de ACVIC <http://www.acvic.org>
 
  MACBA en familia: Inventando la ciudad del futuro
<http://www.macba.cat/controller.php?p_action=show_page&pagina_id=33&inst_id
=3
0792&lang=ESP>
  ¿Ciudades flotantes, sin límites o verticales? Observando la relación
entre
arte y arquitectura esta visita-taller a la Colección MACBA os propone el
reto
de crear un collage arquitectónico que, con sus formas, reinvente una nueva
imagen de la ciudad. Esta visita está especialmente dirigida a familias y
niños de 5 a 12 años. Todos los miércoles de julio a agosto, a las 11 h
Precio: 2 euros. Salas del Museo. Sin reserva previa.
 
  El boletín hace una pausa estival pero la actividad continúa en el MACBA
<http://www.macba.cat/controller.php>
  El boletín del MACBA se despide hasta el 6 de septiembre, fecha en la que
volveremos con todas las novedades de la próxima temporada. ¡Feliz verano!
 
Por favor no respondas a este mensaje. Si deseas dejar de recibir el Boletín
de Noticias del MACBA o quieres cambiar tus datos u opciones de idioma,
puedes
hacerlo validándote como usuario aquí.
<http://www.macba.cat/controller.php?p_action=login_user_id=23_id=20198>

Art Platform&lsqauo;Los Angeles

Art Platform&lsqauo;Los Angeles will launch September 30
Inaugural edition of fair boasts top international galleries, curated
projects
and art installations

Art Platform&lsqauo;Los Angeles, the modern and contemporary art fair for Los
Angeles, set to launch September 30th for invited guests, will present
outstanding work by the region's most innovative artists and will place
emphasis on Los Angeles as a site of historical and contemporary cultural
and
artistic production.

The inaugural edition of the fair will feature leading international dealers
including Max Wigram Gallery, Franklin Parrasch Gallery, Patrick Painter
Inc.,
Susanne Vielmetter Los Angeles Projects, ACME and Marc Selwyn Fine Art and
will include a projects area where galleries such as New York's Lehmann
Maupin
will exhibit.

Exhibiting galleries will be presented alongside Art Platform&lsqauo;Los Angeles'
curatorial program including the Open Platform Panel Series curated by
Andrea
Stang, MOCA Los Angeles' Senior Education Program Manager, a unique
Not-For-Profit project space presented by Co/Lab to include 19 alternative
spaces and independent art initiatives, a video lounge curated by Paul Young
and presented by Artillery Magazine and selections from Boom., an exhibition
of all media from current and recent MFA graduates from select Southern
California universities.

Art Platform&lsqauo;Los Angeles, in keeping with its mission to demonstrate the
rich
and diverse cultural landscape of Southern California, has become a sponsor
of
the historic Pacific Standard Time: Art in L.A. 1945­1980. The fair, located
at the L.A. Mart® in Downtown Los Angeles, will be one of the many exciting
art and cultural events taking place during the opening weekend of Pacific
Standard Time, a collaboration of more than sixty diverse cultural
institutions across Southern California coming together to tell the story of
the artistic evolution of the Los Angeles art scene through an unprecedented
array of simultaneous exhibitions and programs.

Adam Gross, Executive Director of Art Platform&lsqauo;Los Angeles, notes that "Art
Platform&lsqauo;Los Angeles will cement Los Angeles' reputation as one of the
world's
great arts centers with an unparalleled population of influential
contemporary
artists, world renowned arts organizations, a vibrant art market and very
active and important collector base. The goal of our fair is to celebrate
the
region and to invite collectors from Los Angles and abroad to experience our
city in September on this historic launch weekend."

ABOUT Art Platform&lsqauo;Los Angeles:
The Art Platform&lsqauo;Los Angeles art fair will demonstrate the rich and diverse
cultural landscape of Southern California and underscore Los Angeles'
influential position within the contemporary art world. This exhibition will
bring together the local and international artists, dealers, collectors,
museums, and art enthusiasts that play important roles in the vibrant
Southern
California art community. The directive of Art Platform&lsqauo;Los Angeles 2011
will
be to contextualize works by the many critically acclaimed artists working
in
and from Los Angeles and to emphasize the increased recognition of Los
Angeles
as an international art capital.

2011 Art Platform&lsqauo;Los Angeles Show Dates and Times:
Professional Preview: Friday, September 30, 2011
General Admission: Saturday October 1­Monday, October 3, 2011

Location:
L.A. Mart®
1933 S. Broadway
Los Angeles, CA 90007

Please visit www.ArtPlatform-LosAngeles.com
<http://www.ArtPlatform-LosAngeles.com> for a regular updates on the fair's
programs and announcements.
Like us on Facebook
<http://www.facebook.com/pages/Art-Platform-Los-Angeles/101569413268156?ref=
ts

Follow us Twitter <http://twitter.com/#!/artplatformla>

Press Contact:
Lauren Pearson
Communications Director
Art Platform&lsqauo;Los Angeles
646-616-7433
lpearson@mmart.com

L.A. Press Contact:
Jennifer Gross
Evolutionary Media Group
323-658-8700
Jennifer@emgpr.com

CRAC Alsace

Elina Brotherus, "Low Horizon 2," from the series: "The New Painting,"
2000,
colour photograph, 83 x 102 cm.Collection FRAC Alsace, © all rights
reserved.


POUR UNE RÉPUBLIQUE DES RÊVES
(For a Republic of Dreams)
A proposal by Gilles A. Tiberghien
15 June­30 October 2011

CRAC Alsace
Centre rhénan d'art contemporain
18 rue du château
68130 Altkirch
+33 (0)3 89 08 82 59
info@cracalsace.com
www.cracalsace.com

"The spirit of that conception, astray in the atmosphere haunted him. He
proclaimed a republic of dreams, the sovereign territory of poetry... "
&lsqauo;Bruno Schulz (The Republic of Dreams)

With: Silvia Bächli, Glen Baxter, Neal Beggs, Marilyn Bridges, Elina
Brotherus, Balthasar Burkhard, Jean Clareboudt, Edith Dekyndt, Marcel
Dinahet,
Jimmie Durham, Robert Filliou, Thomas Flechtner, Joan Fontcuberta, Gloria
Friedmann, Hamish Fulton, Cyprien Gaillard, Mario Giacomelli, Isabelle
Krieg,
Richard Long, Philippe Mayaux, Nadia Myre, Marylène Negro, Walter
Niedermayr,
Anne Patrick Poirier, Eric Poitevin, Bernard Plossu, Hugues Reip, David
Renaud, Robin Rhode Évariste Richer, Ulrich Ruckriem, Hans Schabus, Roman
Signer, David Tremlett, Holger Trülzsch, Su-Mei Tse, Catharina Van Eetvelde,
Xavier Veilhan, Raphaël Zarka

Conceived by the French philosopher and essayist Gilles A. Tiberghien, who
signs at the CRAC Alsace his first curating project, the exhibition, For A
Republic Of Dreams gathers more than fifty pieces of art. Together, they
draw
the limits of the real world in order to widen it on territories of our
imaginary.

From collections of regional founds of contemporary art of the eastern
region
of France, the works exhibited, historical or recent, maps, photographs,
videos, sculptures, installations, have for a common theme travels,
exploration of spaces either remote or very close, displacement, walks,
discovery of the landscape.

The Republic of dreams refers to an eponymous novel from Bruno Schulz
published in The Cinnamon Shops. Like the children of the novel, the artists
suggest works that are: "characterised by poesy and adventure." And like the
hero," director's chair of landscapes and cosmic sceneries, their art
consists
in catching the intentions of nature, in reading through its secret
aspirations." The exhibition forms thus a path that lays down the first
steps
of a republic of dreams and invites visitors to be the first surveyors.

The exhibition is accompanied by a catalogue co-edited by the CRAC Alsace
and
Les Presses du Réel Publishing in the collection "Oeuvres en sociétés -
Album".

This book resumes all the works and organises them around unpublished
extracts
of Gilles A. Tiberghien's travelbooks and texts from poets (Pierre Alferi,
Emmanuel Hocquard, Jean-Christophe Bailly, etc). The whole is preceded by a
detailed introduction by the author.

Gilles A. Tiberghien teaches aesthetic at Paris 1 / Panthéon-Sorbonne
University.

He is a member of the redaction committee of the Cahiers du Musée d'Art
Moderne et des Carnets du Paysage. He is also a member of the AICA
(Association Internationale des Critiques d'Art) and he was in charge of the
collection Arts et esthétique at Carré, at Hoëbeke and Desclée de Brouwer
Publishing.

The Rhineland Centre for Contemporary Art&lsqauo;CRAC Alsace&lsqauo;is a research and
creativity venue whose principal function is to help a broad public become
acquainted with Contemporary Art. The CRAC organizes solo and collectives
shows with both French and international emerging or established artists.
Recently, were exhibited, Su-Mei Tse, Christophe Keller, Simon Faithfull,
Stéphane Tidet, Bertille Bak, Ann Veronica Janssens and many more. The CRAC
Alsace elaborates projects in collaboration with other institutions such as
Le
Quartier in Quimper (France), Fri-Art, in Fribourg (Switzerland) or the GAK
in
Bremen (Germany).

Schedules and opening time
Tuesday­Friday, 10:00 am­6:00 pm
Week End 2:30 pm­7:00 pm
Opened on the 14th of July
Closed on the 25th of August

Entrance and guided tour
Free entrance
Guided tour on request

To come to the CRAC
From Mulhouse or Basel: drive toward Altkirch; arriving in Altkirch, drive
toward "centre ville Mairie"; continue straight ahead, turn left in front of
the church, then turn right direction "CRAC Alsace".

Contacts
Katia Rapacchietta at +33 (0)3 89 08 82 59 / k.rapacchietta@cracalsace.com
Elli Humbert at +33 (0)3 89 08 82 59 / e.humbert@cracalsace.com

<http://www.cracalsace.com>

Museo de Arte Contemporáneo de Monterrey (MARCO)

BLOCKBUSTER: Cinema for Exhibitions
June 23­September 25, 2011

Museo de Arte Contemporáneo de Monterrey (MARCO)
Zuazua y Jardón S/N, Centro
Monterrey, Nuevo León
México, 64000
T +52 (81) 8262.4500
F +52 (81) 8262.4509
www.marco.org.mx <http://www.marco.org.mx>

PARTICIPATING ARTISTS: Bani Abidi, Eija-Liisa Ahtila, Ziad Antar, Manon de
Boer, Bruce Conner, Abraham Cruzvillegas, Keren Cytter, Tacita Dean, Stan
Douglas, Omer Fast, Luke Fowler, Yang Fudong, Dominique Gonzalez-Foerster,
Douglas Gordon, Rodney Graham, Pierre Huyghe, Runa Islam, Daria Martin,
Steve
McQueen, Valérie Mréjen, Anri Sala

WITH A SPECIAL APPEARANCE BY: Fernando Ortega

CURATED BY: Jens Hoffmann

The exhibition Blockbuster: Cinema for Exhibitions investigates how a number
of significant contemporary artists working with film and video have been
affected by, and redeploy in their own practices, cinematic strategies found
in the work of major 20th-century filmmakers.

Many of the works in Blockbuster: Cinema for Exhibitions analyze the manner
in
which meaning, narrative, and convention are established by employing
certain
qualities of cinema&lsqauo;breaking it down into its constituent parts to show us
its
powerfully manipulative and revealing aspects. Others reference the work of
directors who emphasize context and location, favoring an overall
atmospheric
effect. In a rather different way, some artists use a conceptual structure,
drawing a comparison between the role of filmmaking and the significance of
conceptual gestures. The film genre of the documentary is also referenced,
whether to manipulate our belief in what is being told or to explore the
history of a particular narrative. And another group of works examines the
potential for an alternative form of performative work in film and video,
utilizing strategies of dance, choreography, and music to explore the rich
intersection between physical movement and film.

As a fundamental part of the show, each of the participating artists was
invited to select an accompanying movie that they consider related to their
work. These selections will be screened as part of a special program that
runs
parallel to the exhibition. It features films by the following directors:

Chantal Akerman, Michelangelo Antonioni, Robert Bresson, René Clair, Jean
Eustache, Federico Fellini, Alfredo Gurrola, Charles Laughton, Joseph Losey,
Leo McCarey, Max Ophüls, Michael Powell, Alain Resnais, Tony Richardson,
Jacques Tati, Bertrand Tavernier, Dalton Trumbo, Jean Vigo, Orson Welles

Blockbuster: Cinema for Exhibitions is the first exhibition produced by CIAC
that contains works that are not part of CIAC's collection. It aims to
contribute to the decentralization of culture in Mexico and will travel to
some of the most significant contemporary art museums in the country before
embarking on a tour of other countries in Latin America. The physical
presentation involves a number of temporary structures that guarantee the
best
technical environment for the screenings while also being mobile enough for
the extended tour. The overall program is designed with the intent to create
a
new kind of relationship between exhibition and viewer; the constantly
changing programs and screenings of classic movies, if they are to be
experienced fully, demand repeated visits and a more active dialogue between
institution and audience.

Created in 1992, the Isabel and Agustín Coppel Collection is considered one
of
the most solid and dynamic within contemporary art in México. Each one of
its
projects reaffirms the commitment to stimulation and diffusion of art and
culture in México and the world.

An extensive, full-color, bilingual (Spanish/English) accompanying
publication
will be available starting in June 2011. Its design is based on the
iconography of traditional Mexican split-fountain movie posters with their
bold typefaces and vivid colors. It includes essays by the curator Jens
Hoffmann, the scholar José Luis Barrios, and the film critic Ernesto
Diezmartínez Guzmán as well as information on all the participating artists
and their works, extended notes on the classic films selected by the
artists,
and a special insert featuring a newly commissioned photographic project by
Fernando Ortega depicting abandoned or repurposed movie theaters in Mexico
City.

Blockbuster: Cinema for Exhibitions is produced by
CIAC A.C.
Temístocles 341PB
Col. Polanco
C.P. 11560
México

<http://www.marco.org.mx>

West of Rome Public Art

Trespass: First a Parade, Then a Party

West of Rome Public Art
www.trespassparade.org <http://www.trespassparade.org>

On Sunday, October 2, 2011 the streets of downtown Los Angeles will erupt in
a
parade of local artists and residents, complete with music, dancing and
performance. The parade is the culmination of Trespass, a collaborative
project between Arto Lindsay, Rirkrit Tiravanija, and West of Rome Public
Art
(WoR). They have commissioned 40 Los Angeles based artists, including John
Baldessari, Barbara Kruger, Nancy Rubins and Sterling Ruby, to produce a
statement--their call to action, pleasure and reciprocity. The statements
have
been printed on T-shirts in English and in Spanish, and will be worn as part
of the parade and sold via the West of Rome website. The parade will take
place at 11:00 am and will convene at 1933 South Broadway, Los Angeles, CA
90007. This project has been created to coincide with Pacific Standard Time,
a
collaboration of more than 60 cultural institutions across Southern
California
coming together for the first time to celebrate the birth of the L.A. art
scene, which begins October 2011.

On Monday, October 3, 2011 Trespass will reach its climax with a blow out
benefit party for WoR at Union Station in downtown Los Angeles. Fantastic
and
transgressive Los Angeles iconic underground figure, Miss Vaginal Davis will
shape our journey into the night. The rhythms of Trespass will permeate
into
the evening as musician Arto Lindsay will perform a unique piece composed
for
the occasion. Artist Rirkrit Tiravanija will engage the audience in a
continuation of the collective experience of social awareness stemming from
the parade.

WoR will integrate underground and cutting edge moments of street life and
cultural history in Los Angeles into the party, and deliver it to a
sophisticated international art audience. For a unique experience in the
City
of Angels, please visit our website: www.trespassparade.org
<http://www.trespassparade.org> .

Arto Lindsay's musical career has often involved collaboration with artists.
These have ranged from working with Jean Michel Basquiat on his artist break
for MTV to a performance at The Kitchen with Vito Acconci called "Women's
Business" to a parade during Carnaval in El Salvador with Matthew Barney
entitled "de lama l?mina." Recent projects include collaborations with
Dominique Gonzalez Foerster and Philippe Parreno. In April 2008 Lindsay
presented "I Am a Man", a parade in Frankfurt featuring dancer Richard
Siegal,
artist /musician Nico Vascellari, percussionist Marivaldo Paim, and students
of the Staedelschule. In 2009 Lindsay presented Multinatural (Blackout) a
parade at the Venice Biennale. He also presented parades in New York and
Berlin. In 2010 he collaborated on a parade in Paris for Nuitblanche with
Rirkrit Tiravanija.

Thai artist Rirkrit Tiravanija is widely recognized as one of the most
influential artists of his generation. His work defies media-based
description, as his practice combines traditional object making, public and
private performances, teaching, and other forms of public service and social
action. Winner of the 2010 Absolut Art Award and the 2005 Hugo Boss Prize
awarded by the Guggenheim Museum. Tiravanija was also awarded the Benesse by
the Naoshima Contemporary Art Museum in Japan and the Smithsonian American
Art
Museum's Lucelia Artist Award.

WoR is the leading organization in Los Angeles dedicated to the realization
of
artists' projects, exhibitions, and public interventions outside of the
frame
of galleries and museums. Founded in 2005, WoR has produced many notable
exhibitions including Women in The City featuring Barbara Kruger, Louise
Lawler, Cindy Sherman and Jenny Holzer, Mike Kelley and Michael Smith's A
Voyage of Growth and Discovery, and Marnie Weber's Eternity Forever.

West of Rome Public Art 380 South Lake Avenue, Suite 209 Pasadena,
California
91101 Phone: (626) 793-1504 email: info@westofrome.org

The Museum of Modern Art,New York

Grand Openings
Return of the Blogs
July 20­August 1, 2011
Daily

The Museum of Modern Art, New York
11 West 53 Street
New York, NY 10019
(212) 708-9400

MoMA RESUMES PERFORMANCE PROGRAM WITH A NEW COMMISSION BY
GRAND OPENINGS

Starting July 20, the New York­based artist collective Grand Openings
presents
13 days of performance in The Donald B. and Catherine C. Marron Atrium and
throughout the Museum. Inviting collaborators such as musicians,
performance-art scholars, sound artists, filmmakers, writers, and friends,
the
group is composing a multifaceted live program that relates to the history
of
performance art in general as well as MoMA's particular institutional
structure. Some sections are informed by encounters with the Museum's
archives, current exhibitions, architecture, and staff; others are indirect
meditations on the practice of performing itself. The title of the program,
Grand Openings Return of the Blogs, refers to an additional documentary
element of the work&lsqauo;a daily account of the actions in the form of
handwritten
texts, fabricated objects, and audio podcasts&lsqauo;which will be presented in the
gallery space and on MoMA.org <http://MoMA.org> .

Grand Openings consists of five core members&lsqauo;Ei Arakawa, Jutta Koether, Jay
Sanders, Emily Sundblad, and Stefan Tcherepnin&lsqauo;with different backgrounds in
art, music, curating, and criticism. The collective's mise-en-scènes
comprise
partly scripted and partly improvised actions, loose choreographies, musical
scores, and acts of self-reflection that all coexist in a chaotic structure.
Since its inception in 2005, the collective has appeared at Performa05 (New
York, 2005), Magical Artroom (Tokyo, 2006), Echigo-Tsumari Art Triennial
(Niigata Prefecture, Japan, 2006), MUMOK (Vienna, 2008), Bumbershoot
(Seattle,
2008), Art Basel Statements (Basel, 2009), SculptureCenter (New York, 2009),
and Bonniers Konsthall (Stockholm, 2010).

By inviting an artist collective rather than an individual artist to restart
MoMA's performance program, the Museum directs its focus to the changing
relationship between institutions and performance art. A practice that was
once conceived as a critique of the static, commodified art object created
by
a sole author is now embraced by major museums and a focus of their
programs.
How do institutions and their audiences engage with this formerly
emancipatory
movement that once existed to seek new methods and channels for art? How do
younger generations of artists respond to this legacy? And in what ways do
artists negotiate the inherent tension between the original live performance
and its representation in different media? Grand Openings' practice relates
to
these questions in an idiosyncratic way and opens them up for new
discussion.

More information on MoMA's performance program and a detailed schedule are
available at MoMA.org/performance <http://MoMA.org/performance> .

The Performance Program is organized by Sabine Breitwieser, Chief Curator,
and
Jenny Schlenzka, Assistant Curator for Performance, Department of Media and
Performance Art.

The Performance Exhibition Series is made possible by MoMA's Wallis
Annenberg
Fund for Innovation in Contemporary Art through the Annenberg Foundation.

For information, please visit MoMA.org <http://MoMA.org> .

THE MUSEUM OF MODERN ART
11 West 53 Street
New York, NY 10019
(212) 708-9400
MoMA.org <http://MoMA.org>