Sakuran the directorial debut by up-and-coming Japanese photographer Mika Ninagawa, has been selected for an out-of- competition screening at the Berlin International Film Festival.
To commemorate this achievement, an exhibition of photographic work, not only from Sakuran but including her richly colored flower and goldfish motifs, will be held at Arndt & Partner Berlin – allowing a glimpse into the luxurious and gorgeous world of Mika Ninagawa.
Month: February 2007
Cerith Wyn Evans/Taka Ishii Gallery
Taka Ishii Gallery is pleased to announce Futa Omote (double face) our solo exhibition with London based artist Cerith Wyn Evans. Wyn Evans was born in 1958 in Wales. He has participated in numerous group exhibitions internationally, including the Venice Biennale (1995 and 2003), 9th International Istanbul Biennial (2005) and Documenta 11 (2002). Recent solo exhibitions include MIT List Visual Arts Centre, and Museum of Fine Arts, Boston (2004), Frankfurter Kunstverein (2004), Kunsthaus Graz (2005), BAWAG Foundation, Vienna (2005), and Musee d’art moderne de la ville de Paris, Paris (2006). Upcoming projects include exhibitions with both Taka Ishii Gallery, Tokyo as well as CCA, Kitakyushu.
Cerith Wyn Evan’s conceptual practice incorporates a wide range of media, including installation works, sculptures, photography, film and text. Wyn Evans began his career as a video and filmmaker, initially assisting Derek Jarman, and then making short, experimental films during the 1980s. Since the 1990s, his work could be characterised by its focus on language and perception, as well as its precise, conceptual clarity that is often developed out of the context of the exhibition site or its history. For Wyn Evans, installations should work like a catalyst: a reservoir of possible meanings that can unravel many discursive journeys.
Moreover, his work has a highly refined aesthetic that is often informed by the his deep interest in film history and literature. Often his works harness the potential of language to create moments of rupture and delight, where romantic longing, desire and reality conjoin. His ‘Firework’ pieces, for example, are wooden structures that spell out open-ended texts that burn over a designated period of time. His ‘Chandelier’ sculptures evoke notions of otherworldly communication by using sections of texts that have been translated into the flashing light signals of Morse Code. In his film and slide installations, such as The Curves of the Needle (2003), Wyn Evans manipulates sound to form a parallel ‘text’ to the visuals, where meaning is opened up by the unexpected slippage that occurs when the soundtrack is dislodged, changed or removed.
ARCO/Nicola von Senger
OLAF BREUNING, PROJECTS, Pabellón Hall 9 Stand PR10
GIANNI MOTTI, BLACK BOX, Pabellón Hall 9 Stand BB10
Moritz Schleime @ Larm
Moritz Schleime are born in 1978 and from germany(Weisensee).
Arco/Krinzinger
DEAR FRIENDS OF THE GALLERY,
we are looking forward seeing you at ARCO at our booth 9H 262, where we present works of:
Atelier van Lieshout Angela de la Cruz Dubossarsky & Vinogradov
Angelika Krinzinger Erik van Lieshout Jonathan Meese
Bjarne Melgaard Alois Mosbacher Hans Op de Beeck
Arnulf Rainer Werner Reiterer Eva Schlegel
Rudolf Schwarzkogler Frank Thiel Gavin Turk
Martin Walde Erwin Wurm
The Armory Show
We shall be presenting works by following gallery artists:
Adam Adach, Sue de Beer, Sophie Calle, William Cordova, Gabi Hamm, Mathilde ter Heijne, Anton Henning, Thomas Hirschhorn, Jon Kessler, Douglas Kolk, Karsten Konrad, Yayoi Kusama, Muntean/ Rosenblum, Josephine Meckseper, Erik Parker, Julian Rosefeldt, Charles Sandison, Nedko Solakov, Hiroshi Sugito, Miroslav Tichý, Susan Turcot and Veron Urdarianu
Furthermore we would like to draw your attention to the Clifford Chance VIP Lounge where the installation Asylum, 2001- 2002 consisting of 9 film sequences by Julian Rosefeldt will be on view.
Opening hours of the fair:
Friday, 23 February until Sunday, 25 February 2007
Public viewing hours: Noon – 8 pm
Monday, 26 February 2007
Public viewing hours: Noon – 5 pm
Pier 94
Twelfth Avenue at 55th Street
New York City
United Colors of Assholes
Alexander Laners plays on the Mercedes motor SLR. fra 1966 250 hk.
What F Word?
What F Word?
curated by Carol Cole Levin
Opening reception: Thursday, February 15, 6-9 pm
Ghada Amer &
Reza Farkhondeh
Janet Biggs
Phyllis Bramson
Carol Cole
Patricia Cronin
Nancy Davidson
Lesley Dill
Diane Edison
Susan Paul Firestone
Dana Frankfort
Lauren Gibbes
Gina Gibson
Kate Gilmore
Nancy Grossman
Jane Hammond
Rajkamal Kahlon
Robin Kahn
Deborah Kass
Suzanne McClelland Beverly McIver
Ulrike Mueller
Barbara Nessim
Shay Nowick
Brenda Oelbaum
Lesley Patterson-Marx Elaine Reichek
Beatrice Schall
Rachel Selekman Lowery Stokes Sims Anita Steckel
Sabyna Sterrett
Jennifer Viola
May Wilson
Cynthia Broan Gallery will present What F Word?, a group exhibition curated by Carol Cole Levin of female artists
representing multiple generations. Works that span 45 years are all somehow connected to an “F” word.
In the 50’s, there was only one meaning for the “F” word and that was the slang word for copulation; coincidentally, the act of love that begets the life that begins in a female womb. In the last decade, the “F” word has been used derogatively to refer to words like “feminist” and “fascist,” even “flag” was draped in controversy. How will we refer to this decade? Is this the art of the 00”s? Does it have gender? “G” follows “F” in the English alphabet. Why do English nouns not have gender like the Romance and Germanic languages? Who decided the gender of their nouns?
“Say Something,” a painting of Dana Frankfort implores. Suzanne McClelland mockingly replies in Coming to a Head on how to give a blow job in pink and red. Ghada Amer and Reza Farkhondeh ever so subtly suggest females making love in Dalliances. Embroidery and fabric are everywhere, materials long associated with the female. Digital embroidery, right or left brain? Who is right? Who is left? Where is feeling? What represents fact? Jennifer Viola uses an alphabet of sign language to express more than the letter “F.” Sabyna Sterrett in Flood, hand stitches pearls on fabric printed with fish (a Christian symbol of faith) to memorialize the devastating Easter flood in 1979 of the Pearl River that flows through Mississippi, the same river that was dragged for bodies during civil rights trials in the 60’s.
Feminist? Fascist? Fear? Flag? Figure? Face? Ferocious? Fanatic? Faith? Future? Family? Food?
Flood? Fire? Fortune? Finance? Fish? Friend? Fame? Free? Fun? Facetious? Fad? Flower? Fancy?
This exhibition is dedicated to the memory of Arlene Raven.
The work are by Shay Nowick.
Gratuitous Little Weight
Gratuitous Little Weight
A photographic examination of event landscape.
Madeline Djerejian, Nayan Kulkarni, Clement Page Curated by Berit Fischer
2 March – 31 March 2007
Private view: Thursday 1 March 6-9pm
Talk: Thursday 15 March 6.30pm at Standpoint, the curator in conversation with the artists.
Gratuitous Little Weight
How can we conceive of space as a stage for men and not merely a somewhat nostalgic object of contemplation?
Paul Virilio
Gratuitous Little Weight responds to Paul Virilio’s urbanist vision of history as an event landscape in which the persistence of
material moves to the cognitive persistence of vision. Calling upon the mechanisms of memory and documentation, the tension
between what an image reveals and what we know about it, Gratuitous Little Weight is a photographic investigation on the
aesthetics of disappearance, the elusive and ephemeral world of the finite.
Madeline Djerejian
Guardians & Sentries, 2001/2006 Djerejian’s photographic series portrays poetically uncanny landscapes, some of ominous
architectural remnants and others of mysterious physiography. However the alluring landscapes represent imprints of a rather
un-poetic historic past, namely battlefields, pillboxes or bunkers in Normandy or Verdun. As the viewer you are drawn into a
tension between the eerie yet intriguing aesthetic of the image, and the callous reality of its content.
Madeline Djerejian lives and works in New York and Wales. Her works have been widely exhibited in the US, Germany and the UK
and are most recently included in the publication Frozen Tears 3 (UK).
Nayan Kulkarni
Still Places Series, 2004/2006 examines the viewing process as an experience, created through slight digital anamorphosis
of the photographic images, in which the single vanishing point is exaggerated through strong converging linear compositions.
Sites of barren richness inform the photographic approach. The landscapes are sites with strong signs of historical human
interaction, like SSSI (Site of Special Scientific Interest) preservation areas, traces of former military defence zones or pole
marks of ancient pilgrims way for safe passage. “They expose a kind of emotional atrophy or sublimation of the body into their
expanse”. (NK)
Nayan Kulkarni is a British artist who graduated from The Slade. His diverse practice includes photography, video installation
and project based works in the public realm.
Clement Page
Topologies, 2003 is a series of photographic investigations into cityscapes of areas of London that were heavily bombed during
World War II, and that have since become marginalized or partly ghettoized zones. These historically loaded areas are
photographically captured when the former architecture and usage are on the verge of complete disappearance through new
development. “These zones become the architectural and historical unconscious of the city”. (CP) The use of long exposures
and very slow film allow the viewer to investigate, in the sharpest detail, an uncanny Topology of urban history.
Clement Page works with film, painting and photography and has shown extensively internationally as well as nationally at
Lisson Gallery, VTO and Cell Projects.
Craig Fisher @ Rokeby !
Craig Fisher’s second solo exhibition at Rokeby, Hold Your Fire, is an ambitious installation that at first appears to jar with the artist’s previous concerns. On the ground floor of the gallery Fisher presents what appears to be a weapons amnesty. Numerous weapons of varying sizes are carefully and formally laid out as if for inspection. And inspect you might, because each piece of military hardware is in fact meticulously crafted from utilitarian materials and fabrics, the handles and blades, knuckle dusters and chainsaws made from careful stitch work, embellished with ribbons and buttons.
Even the table upon which these weapons are placed has the woods grain and its knots carefully rendered in thread. Inviting the viewer to question the process of interpreting and organizing sensory information Fisher forces the viewer to reassess the recognizable. A table, a knife or a fence are all familiar objects with seemingly practical roles but not in Fisher’s world, here they are devoid of function and perform on a very different level.
Having negotiated the table you are faced with a fence of brightly coloured fabrics and seductive textures, again its purpose may be questioned, is this for the viewer’s protection or is it a blockade. In the basement of the gallery Fisher creates a scene that upsets ones understanding of the upstairs gallery and the ambiguity of perception is at once revealed. What had at first been understood, as a peaceful submission, now appears to have been to the contrary. Could upstairs have been a prelude to something far more sinister? The contradictions at play in Fisher’s work distend beyond our visual reception. Fisher selects his fabrics with precise attention to their values and associations, so that Chambray cotton may be employed within a sculpture of barbed wire, fine linen may creep into an object suggesting a form of torture and a shimmering spandex be used to present a glistening bodily fluid. In a similar manner Fisher’s decorative stitch work, ornamentation and delicate detailing are often associated with a feminine hand and are rarely placed within what could be seen as the masculine territory of violence and horror.
Within his practice Fisher references both popular culture and high art; the scenes that he creates are the territory of slasher movies and horror flicks, yet they are presented within a cartoon like landscape with a skill and dexterity that has taken years to perfect. Similarly he tackles his subjects with knowledge of art history and his precedents such as Richard Artschwager. Artschwager’s use of materials such as Formica, used as an image in and of itself, his preference for such materials that could be considered to be in bad taste and his references to everyday objects are certainly celebrated by Fisher.
Craig Fisher graduated from Goldsmiths College in 2000 where he was awarded a Saatchi Fellowship, shortly after which he completed a fellowship at Ecole Cantonale d’art du Valais, Switzerland. Recent exhibitions include the Bloody Mess a solo exhibition at Leeds Metropolitan Gallery, Uncontrollable at Vane, Newcastle and the Crafts Council’s Boys Who Sew. Previously he has exhibited at K3 Project Space, Zurich, Cell Project Space, London, Galerie Zurcher, Paris and Nylon, London he has a solo exhibition at the Millais Gallery later this year and will be one of three British artists exhibiting at the Artspace Gallery, Sydney in A Comedy of Errors.