Looking very good, the works are big and will be more awesome out side a house.

V1

A old house, with graffiti all over.

Found some old stuff, but still cool.

THE POOR MAN, THE RICH MAN AND THE MOSQUITO

I

A poor man once lived opposite a rich man. Everyday, through his window, he saw how poor he really was. He said to himself:
“What have I in common with this man?”
The poor man, rapt in his devising, was all but dying of poorness. One can eat badly for one, two, and even four days, but no more, not without losing strength and falling ill, specially when one works. Which is exactly what happened at this poor man’s home, where everyone started falling ill. Without money for medicine and no longer able to get anyone to loan them anything, some deadly fevers started claiming their lives one by one. The poor inventor first lost his wife, then his daughter and finally his son.
Now he was dying.
And the rich man across the way who saw him every day said to himself:
“What have I in common with this man?”
And the poor man was dying. Dying.
He was hated by everyone, for to everyone money he owed. He was feared by everyone because everyone, afraid of the fever, feared his physical approach. He was languishing, no flesh and only bones, unable so much as to bear his own weight. He sweats and sweats, trembles and trembles. He was dying, thinking of his inventions, raving about strangely, blazing forth numbers and then more numbers.
He was dying, alone as can be.
And the rich man across the way saw him every day from his window and, stingy, he once again said to himself, “What have I in common with this man?”
But then that same night one of the millions of mosquitoes that lived in a swamp bit the dying man.
Later, flying at the mercy of the shadows, it gained entrance to the home of the rich man, who was sleeping, and bit him too.
As the mosquito bit him, it passed on the disease of which the poor man was dying.
And the rich man was no longer able to see the poor man from across the way from his window.

II

Both men died of the same affliction, both died practically at the same time, unaware of what the one had in common with the other. Underground practically at the same time, they were left to the worms practically at the same time, alone as can be. And, to this day, those worms remain unaware of who was the rich man and who was the poor man.
And what about the mosquito? Whatever happened to the mosquito? Whomever else did it bite? Whomever else will it bite?
One can’t really say. One can’t follow a mosquito into the shadows. Maybe it still flies along at night, buzzing its eternal jest. Filling up on all sorts of blood, it injects one man’s blood into another. One can’t really say one way or another.
The only thing set in stone is that there will never be a shortage of the thousands of types of mosquitoes whose singular mission is to show us that it is not in our best interest for there to be wretches amongst us, that to help them in due time means to help ourselves. It means that whichever mosquito bites them in the future will not in turn ruin our lives.
The only thing set in stone is that there is never a shortage of mosquitoes, nor of even more minute beings, there to violently remind us of that which men of the heart should already know, that we all have much, very much in common with our neighbours, particularly when our neighbours are dreadful wretches.

TOMAS MEABE.

MC KUNST

The Innocent Gaze
August 3 ˆ 26, 2007
Opening Friday Aug. 3; 6-9pm
Jack Hanley Gallery, San Francisco

The Jack Hanley Gallery, San Francisco, is pleased to present The Innocent Gaze, a group exhibition featuring artists Hisham Bharoocha, Leslie Shows, Chris Sollars, Erika Somogyi, Ted Riederer and Edmund Wyss and curated by Dina Pugh. The Innocent Gaze examines various ways in which artists are addressing disaster, war, and tragedy by assembling/deassembling information and ephemera from the media. Using art to understand, cope with or connect to disturbing current events, these disparate artists choose to respond with varied aesthetics from the sublime to the fetishized.

In the 2001 article “Welcome to the Desert of the Real” Slavoj Zizek discusses the “innocent gaze” as the current American viewpoint due to our physical and emotional distance from wars waging abroad. The artists in this exhibition represent or critique their own removed position and ultimately reveal the difficult task of attempting to respond to events beyond our full comprehension. While the media is looked to as a source of information, it also shelters us from the harshest of realities. These artists confront difficult, political subjects by sourcing media images and thus flipping the media‚s intermediary gaze to create a personal connection. Many of the images on display are highly aesthetisized, often sublime and nearly void of recognizable political content. On one hand this can be perceived as a sign of escapism, on the other it calls attention to the distance that still exists between our sheltered viewpoint and “the real”.

Hisham Bharoocha, Erika Somogyi and Leslie Shows disassemble images from the media and reassemble them through collaging and painting. Ted Riederer‚s art practice revolves largely around his use of music as a political tool, a coping mechanism and a means of connection with others. Edmund Wyss juxtaposes immaculately rendered photorealistic paintings of outmoded cameras and toy-like war weapons ˆ often indiscernible from one another. Chris Sollars uses a more didactic approach than the other artists in the exhibition, prodding his audience to question the relevance of art in the political arena.

Jack Hanley

It is with great pleasure that peter lav PHOTO GALLERY presents the exhibition

Myne Søe-Pedersen
TRANSIENT
August 9 – September 8

Please join us on Thursday, August 9, from 17 to 20, for the opening reception.

The project is sponsored by the Danish Arts Council.

Bedste hilsner/Best regards

Peter Lav

peter lav PHOTO GALLERY
Carl Jacobsens Vej 16, indg. 6, 3 sal
DK-2500 Valby
(+45) 28 80 23 98

Pl Gallery

FERDINAND AHM KRAG

’TURBULENT INFINITY’
August 9th – September 8th, 2007

Opening reception, Thursday August 8th, 17-20
Afterparty at ‘Venners Hjem’ with food, beer and a nice atmosphere
DJ: Master Fatman

FOR IMMEDIATE RELEASE
This is Ferdinand Ahm Krag’s first solo exhibition at bendixen contemporary art. The show is titled “Turbulent Infinity” and will present a number of drawings.
In his formalistic drawings Ahm Krag combines various spaces. Landscapes and architectonic or even musical spaces arise from his expansive compositions. The notion of scale is variable and indefinable. We find ourselves asking the question: is this a macroscopic or microscopic world?
The symmetrical composition of these drawings gives quite a few of them an approximate resemblance to masks. Floating and abstract face-like shapes seem to be charged with waves of energy and musical vibrations. Or are we witnessing the splitting of atoms? Or perhaps science fiction architecture from another planet?
In his art, Ahm Krag endeavours to capture motifs and figurations in an abstract, indefinable state of ”translation”. The pictorial space stretches infinitely in all directions, while at the same time pulsating between inner and outer, micro and macro, architecture and music, face and landscape. Occasionally the works display a great formal complexity, but Ahm Krag’s drawings originate in quite basic technique. They simply consist of lines drawn with a ball-point pen and a ruler across printing paper. They may resemble works by Sol LeWitt or Agnes Martin, but only at first glance. For Ahm Krag clearly draws upon numerous sources such as constructivism, futurism, psychedelic art, op-art, science-fiction, textile design and computer-generated visualisations of sound. Ahm Krag has articulated the following about his method of drawing: “These are meditative repetitions of the straight line, of the horizon line. One line under another, under yet a third and fourth line, et cetera. Until the entire piece of paper is covered in straight lines, and nothing but straight lines. The world represented as an accumulation of straight lines. And yet this world is far from perfect, for the lines are not quite straight. The surface reveals little discrepancies and smudged displacements. Chance coincidences. These coincidences are crucial, for they fill the space with possibility. Possibility is energy, and – if they may be said to represent anything – the drawings represent how spatial energies are captured by the psychic apparatus and wrapped up in patterns. A drawing is a device for perception.”

Ferdinand Ahm Krag graduated from The Royal Danish Academy of Fine Arts in 2006. He has been nominated for the Carnegie Art Award 2008 and contributes frequently to the daily newspaper Information as an art critic.

Opening hours: Tuesday – Friday 12-17, Saturday 11-14

bendixen contemporary art
Carl Jacobsens Vej 20, 4th Floor
DK-2500 Valby
+45 36 16 03 25

Bendixen

August 9. – September 8. 2007

MOGADISHNI CPH is proud to kick off this autumn season with two exhibitions:

A solo exhibition by the Italian artist Ivan Malerba,
and a group exhibition with the three artists Vera Iliatova, Larissa Bates and Rebeca Raney.

MOGADISHNI CPH looks forward to see you at the opening Thursday August 9, 5-8 PM,
followed by afterparty at “Venners Hjem”, Trekronergade 143, Valby. DJ MASTER FATMAN

Best regards/venlig hilsen MOGADISHNI

MOGADISHNI CPH
Carl Jacobsensvej 16 opg. 6 3.sal
2500 Valby/Copenhagen
Denmark
Tel 0045 32543535
Fax 0045 32543545
mail@mogadishni.com

Mogadishni

”NEW JOURNAL”

Trine Søndergaard, Nikolaj Howalt, Johnny Jensen, Kine Ravn, Nan Na Hvass og Signe Vad

Møstings Hus, Andebakkesti 5, 2000 Frederiksberg

4. august – 2. september 2007. Tirs.-søn. Kl. 11-16

Fernisering fredag 3. august 2007 kl. 16-18

LISA KLAPSTOCK

Depiction

For the past ten years, Toronto artist Lisa Klapstock has investigated visual perception and the role of the camera in affecting and challenging the way we see and experience our surroundings.

Depiction is a photographic series that uses depth-of-field to investigate the fragmented nature of human vision and the artifice of pictorial construction. These panoramic photographs of domestic gardens and house facades were shot with a single stationery camera that captured multiple views of the same space broken down into shallow focal layers, from the immediate foreground to infinity. These layers were then composited digitally into a single continuous picture in which the foreground, mid-ground and background appear together as components of a single image, but are clearly different layers of the same pictorial field. Elements of the picture move in and out of focus, revealing its composite layers and reflecting the way that we see. As the eye moves over the image, the pictorial field opens up, revealing its spatial depth. The Depiction images represent both a composition and a deconstruction.

Depiction refers to the artifice of constructing a picture. The camera has the capacity to render images with a large depth-of-field, in which the foreground, mid-ground and background are simultaneously in focus. Paintings display this same condition. The human eye, however, does not see like this, as it has a limited depth of focus and is constantly in motion. This series simulates the way the human eye sees, moving over and through a space, pausing to focus on one fragment/thing at a time, rapidly framing and re-framing a scene, unconsciously constructing a complete picture from multiple views. The photographs elongate time, slowing down the eyes’ movement and making us conscious of the way that we see.

LISA KLAPSTOCK bio
Lisa Klapstock is a lens-based artist living in Toronto. She holds a Communications
degree from Simon Fraser University, Vancouver. With a focus on everyday places and
their human occupation, Klapstock’s practice investigates mechanisms of seeing and the
role of the camera in affecting and challenging the way we view and experience our
surroundings. Her photographs and videos explore the liminal zone between abstraction
and realism, revealing the complex relationship between photographic depiction and
visual perception. Early work examined the hidden environment of Toronto’s urban
laneways, drawing attention to the fragile and mutable interface separating public and
private realms. Recent subject matter ranges from private gardens to both man-made
and natural landscapes to populated tourist sites.

Senko Studio
Sct. Mathiasgade 35D
WHAT DO YOU MEAN BY THAT METAPHOR
Signe Vad (DK)
18.08 – 9.09.2007

Galleri Signe Vad
Nansensgade 47
DK-1366 København K
tlf: +45 20730567
åbent onsdag og fredag 16-18 og lørdag 13-15

Galleri Signe Vad

Signe Vad