ARTISSIMA 14 | ||
  | | ARTISSIMA 14 9 - 11 November 2007 11 a.m. - 8 p.m. Lingotto Fiere, Turin Vernissage November 8, 2007 http://www.artissima.it |
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| ARTISSIMA 14: A NEW TYPE OF CULTURAL EVENT Artissima takes place in Turin, Italy, from the 8th to 10th of November, 2007. A project by Andrea Bellini, director of the Fair from 2007, Artissima 14 is a window on emerging art worldwide. 131 galleries from 17 countries: a launch-pad for the best research in the field of visual arts on an international scale. The galleries will be showing outstanding works by both renowned established artists and cutting-edge newcomers. The New Artissima is a marketplace of the highest quality, but it is also a flexible tool, a container of art exhibitions, parties and crossover events. At the Fair, together with the traditional booths, there will also be two sections -- Constellations and Present Future -- designed as authentic exhibitions. PRESENT FUTURE is a special section of the Fair in collaboration with illycaffè, which will include this year 15 projects by artists emerging on the national and international art scene, selected by a team of three curators: Cecilia Alemani, art critic and independent curator, New York; Luca Cerizza, curator BSI Collection and art critic, Berlin; Raimundas Malasauskas, curator Artists Space, New York / Advisor, California College of Arts, San Francisco. Present Future will introduce an exciting new feature for Artissima 14: the artists have been invited to display their works in a separate and independent area devoted exclusively to this section, designed like a real exhibition, enhancing the dialogue between the works whilst creating an itinerary with constant and stimulating surprises. During the Fair, a jury composed by Corinne Diserens, Director, MUSEION, Bolzano, Francesco Manacorda, Curator, Barbican Art Gallery, London, and Susan Pfeffer, Curator, KW Institute for Contemporary Art, Berlin will meet to assign the illy Present Future Award to the most significant work. The winning artist will receive a 10,000-euro prize from the event partner, illy, and will have the opportunity to present a design for the “illy Art Collection” of auteur coffee cups CONSTELLATIONS is devoted to large museum-quality works, exhibited for the first time at Artissima in a museum-style exhibition. 10 artworks from more than 90 projects submitted by the galleries taking part in the Fair have been selected by Daniel Birnbaum, Director of Portikus, Frankfurt, and Marc-Olivier Wahler, Director of of Palais de Tokyo, Paris. NEW ENTRIES will present 17 emerging avant-garde galleries from 8 countries at the Fair for the first time, selected by the Board of Directors and Consulting Committee of Artissima. The Guido Carbone Award, devoted to the galleries taking part in this section, will be assigned by an international Jury that will consider, as a primary selection criterion, the work of research and promotion of young artists carried on by galleries. The jury is composed by Fabio Cavallucci, Director, Galleria Civica di Arte Contemporanea, Trento / Coordinator, Manifesta 7, Vasif Kortun, Director, Platform Garanti, Istanbul / Founding director Project Istanbul Museum of Contemporary Art, Anton Vidokle, Artist, curator, founder and director of e-flux, New York, and Laura Viale, jury’s permanent member on behalf of the Award Promoting Committee. The VIDEO LOUNGE, curated by Cecilia Alemani, is devoted to the latest trends and the most recent creations of artists who work with film, video and animation. Mixing together documentaries, visions and digital perceptions of about sixty international artists, the Video Lounge opens a window onto the world of contemporary art, guiding the audience on a journey through possible worlds and new landscapes of imagination. The program revolves around the themes of “War, Peace, and Ecstasy” which have been chosen as the key concepts for an exploration of today’s art. The artists have been selected among those working the galleries taking part in Artissima. The SEMINAR ON CURATORIAL PRACTICE, curated by Måns Wrange (CuratorLab, Konstfack, Stockholm) consists in two days of intense debate and dialogue, with the participation of twelve leading international curators and artists: Ute Meta Bauer, Luca Cerizza, Caroline Corbetta, Meg Cranston, Joshua Decter, Ronald Jones, Yu Yeon Kim, Vasif Kortun, Marysia Lewandowska, Francesco Manacorda, Chus Martinez, Anton Vidokle. Three emerging curators from Colombia, Ethiopia and India will be guest speakers at the seminar, in cooperation with illycaffé, thus offering evidence of the new frontiers of contemporary art: Meskerem Assegued, Addis Ababa, Ethiopia, Mariangela Mendez Prencke, Bogotà, Colombia, Suman Gopinath, Bangalore, India. Artissima will also extend beyond the borders of the fair, exploring the city and its most significant centers of artistic and cultural production. ARTISSIMA CINEMA will present “Shanghype!”, a video program featuring the new chinese art scene, curated by Davide Quadrio, BizArt/Arthub, Shanghai. ARTISSIMA VOLUME is a high-impact performances and events with the participation of some of the greatest names in neo-avantgarde music, curated by Nero magazine, Roma. ARTISSIMA COMICS is an anthological exhibition of GIPI, one of the most notorious Italian cartoonists within the international art scene, curated by Daniele Ratti and Sergio Pignatone, Torino. NIGHT OF CONTEMPORARY ART - As part of the project “Contemporary Arts Torino Piemonte”, and on the occasion of Artissima, museums, foundations, and art institutions will propose openings and exhibitions of international appeal whilst the streets of Turin will be illuminated by Luci d’artista, light installations designed by artists. The “night of contemporary art” on Saturday the 10th will feature special openings of galleries, museums and other art spaces, concerts and performances throughout the city, followed by a closing party in collaboration with Club to Club, The International Festival of Electronic Music and Arts. For additional information and the complete list of galleries, please visit our website http://www.artissima.it | ||
Tuesday, October 30, 2007
ARTISSIMA 14: Silverman Gallery and Patricia Esquivias
Don’t Mess With Texas @ Nathan Larramendy
Please join us Saturday, November 3rd, 5 -7 PM for the opening reception of
Don’t Mess With Texas
Artists: Libby Black, Amy Blakemore, Zoe Carlton, Kelli Connell, Virginia Fleck, Francesca Fuchs, Laura Lark
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Wednesday, October 17, 2007
Anne Colvin, The Consequence Screenings.
The Consequence
Curated by Alex Hetherington and Janie Nicoll
ALEXIA De Ville De Goyet, ANDERS Weberg, ANN Vance, ANNE Colvin, ANTONIO Contador, BALDVIN Ringsted, BEN Fallon, CAROLYN KANE, DANA Cooley, HAKEEM B., ISABELLE Prim, JOHANNA Reich, JONATHAN Franco, KATHLEEN Herbert, LAURE Forét, LUCY Keany, MATHIEU Rouget, MELISSA Day, NATHALIE De Briey, PENELOPE Reichley, PETER S. Amantea, POPUP FILMS, STEPHEN Palmer.
LowSalt Gallery, Glasgow, Scotland, 19-21 October 2007
265 Renfrew Street, Glasgow
12-5pm, opening Friday 19 October 7-9pm
Edinburgh Sculpture Workshop, Edinburgh, Scotland, 16 November 2007
25 Hawthornvale, Edinburgh
Event, 16 November 6-10pm
The Consequence features a cast of emerging and established international visual artists curated by Alex Hetherington and Janie Nicoll in association with LowSalt Gallery, Glasgow and the Edinburgh Sculpture Workshop. These video screening events represent the third project in a series which has included an installation The Consequence devised by Hetherington and Nicoll at Intermedia in May 2007 and House/Lights a performance by Alex Hetherington at ESW in July. The themes of these works include the interrogation of gender and its repetitious repertoire; performance and technology; multiplication of and cross-referencing pre-existing material; the constructions of meaning and the nature of image with allusions to social outcasts, social constructs and scenarios whereupon image (cinema, art, theatre) and social phenomenon interchange. In turn The Consequence sets up a scenario where Hetherington and Nicoll scrutinize through these themes the work of the artists on show in relationship to their own practice.
Following on from a call out seeking video works that mirror these central themes, Hetherington and Nicoll have devised two distinct events that correspond to the spaces these videos will be presented at. LowSalt Gallery will present a selection of raw, disturbing, disconcerting, experimental works that connect the material of the body to modes of technological manipulation, recognizable cultural images to notions of instability and demise, cinema and found film footage to experiences of violent disruption. ESW will re-present this screening in friction and tension with more reflective, durational and performance-based pieces of film and video in a night time event, which will also feature site-specific work and responses from artists who work regularly at the Sculpture Workshop. Linking these works will be an “interlude” devised by the Belgian born Glasgow-based artist Nathalie de Briey.
Essays by Alex Hetherington and Michelle Kasprzak, Director New Media Scotland accompany the events.
For further information please contact Alex Hetherington at Alexander.hetherington@virgin.net or Janie Nicoll at janienicoll@yahoo.co.uk
Curated by Alex Hetherington and Janie Nicoll
ALEXIA De Ville De Goyet, ANDERS Weberg, ANN Vance, ANNE Colvin, ANTONIO Contador, BALDVIN Ringsted, BEN Fallon, CAROLYN KANE, DANA Cooley, HAKEEM B., ISABELLE Prim, JOHANNA Reich, JONATHAN Franco, KATHLEEN Herbert, LAURE Forét, LUCY Keany, MATHIEU Rouget, MELISSA Day, NATHALIE De Briey, PENELOPE Reichley, PETER S. Amantea, POPUP FILMS, STEPHEN Palmer.
LowSalt Gallery, Glasgow, Scotland, 19-21 October 2007
265 Renfrew Street, Glasgow
12-5pm, opening Friday 19 October 7-9pm
Edinburgh Sculpture Workshop, Edinburgh, Scotland, 16 November 2007
25 Hawthornvale, Edinburgh
Event, 16 November 6-10pm
The Consequence features a cast of emerging and established international visual artists curated by Alex Hetherington and Janie Nicoll in association with LowSalt Gallery, Glasgow and the Edinburgh Sculpture Workshop. These video screening events represent the third project in a series which has included an installation The Consequence devised by Hetherington and Nicoll at Intermedia in May 2007 and House/Lights a performance by Alex Hetherington at ESW in July. The themes of these works include the interrogation of gender and its repetitious repertoire; performance and technology; multiplication of and cross-referencing pre-existing material; the constructions of meaning and the nature of image with allusions to social outcasts, social constructs and scenarios whereupon image (cinema, art, theatre) and social phenomenon interchange. In turn The Consequence sets up a scenario where Hetherington and Nicoll scrutinize through these themes the work of the artists on show in relationship to their own practice.
Following on from a call out seeking video works that mirror these central themes, Hetherington and Nicoll have devised two distinct events that correspond to the spaces these videos will be presented at. LowSalt Gallery will present a selection of raw, disturbing, disconcerting, experimental works that connect the material of the body to modes of technological manipulation, recognizable cultural images to notions of instability and demise, cinema and found film footage to experiences of violent disruption. ESW will re-present this screening in friction and tension with more reflective, durational and performance-based pieces of film and video in a night time event, which will also feature site-specific work and responses from artists who work regularly at the Sculpture Workshop. Linking these works will be an “interlude” devised by the Belgian born Glasgow-based artist Nathalie de Briey.
Essays by Alex Hetherington and Michelle Kasprzak, Director New Media Scotland accompany the events.
For further information please contact Alex Hetherington at Alexander.hetherington@virgin.net or Janie Nicoll at janienicoll@yahoo.co.uk
Wednesday, October 10, 2007
TART Artist Shows in Europe
Graham Fagen solo show, Galerie Micky Schubert, Berlin.
Anne Colvin, The Consequence, Lowsalt Gallery, Glasgow, The Edinburgh Sculpture Workshop.
Nico Ihlein/Honey Suckle Company, Montgomery, Berlin.
Daryl Waller, Move, Goldfish Contemporary Arts at Lime Wharf, Vyner St. London.
Anne Colvin, The Consequence, Lowsalt Gallery, Glasgow, The Edinburgh Sculpture Workshop.
Nico Ihlein/Honey Suckle Company, Montgomery, Berlin.
Daryl Waller, Move, Goldfish Contemporary Arts at Lime Wharf, Vyner St. London.
Wednesday, October 3, 2007
Silverman Gallery//Artist Updates and News
Artist Updates:
Silverman Gallery is very pleased to announce the representation of San Francisco based artist, Mary Elizabeth Yarbrough. Her first solo exhibition will take place in February.
Job Piston is invited to Littlest Sister 07 which will be held at Spinello Gallery, Miami, (November 10, 2007 - January 5, 2008). The Group Art Fair is by invitation only - narrowed down from an extensive list of artists both local and abroad, selected and curated by Claire Breukel (Independent Curator & Executive Director of Locust Projects, Miami) and Art Fair Organizer, Anthony Spinello.
Silverman Gallery is very pleased to announce the representation of San Francisco based artist, Mary Elizabeth Yarbrough. Her first solo exhibition will take place in February.
Job Piston is invited to Littlest Sister 07 which will be held at Spinello Gallery, Miami, (November 10, 2007 - January 5, 2008). The Group Art Fair is by invitation only - narrowed down from an extensive list of artists both local and abroad, selected and curated by Claire Breukel (Independent Curator & Executive Director of Locust Projects, Miami) and Art Fair Organizer, Anthony Spinello.
Desiree Holman will take part in Independent Exposure Halloweird Edition, October 25th @ the Red Vic Movie House.
Tris Vonna-Michell's new solo show just opened at Milliken Gallery, Stockholm. Tris can also be seen performing at Serpentine Gallery, London on October 13. He will have his next solo exhibition at Cubitt Gallery, London this November.
Ben Shaffer has a new work in a group exhibition at TELIC ARTS EXCHANGE, Chinatown, CA on October 27.
Ben Shaffer has a new work in a group exhibition at TELIC ARTS EXCHANGE, Chinatown, CA on October 27.
How many more curators will join the trade?
From Art Market:
How many more curators will join the trade?
By Jane Morris | Posted 13 September 2007
LONDON. The move from the public to private sector of Guggenheim director Lisa Dennison might be the most visible, but she is not the only curator to cross what used to be an unscalable wall. Curator Jonathan Binstock left the Corcoran Gallery in Washington, DC last month to join Citibank (p12) as an art advisor, while curators Ingrid Dudek and Anne de Pietra both left museums to join Christie’s and the Spanierman Gallery, respectively, last year. At least four UK curators have also moved to the trade in the past year. These include Amin Jaffer who moved from the V&A to Christie’s in June; Emma Dexter from the Tate to Timothy Taylor Gallery in February; Ben Tufnell from the Tate and Nina Miall from the Royal Academy, both to Haunch of Venison late last year.
Directors on both sides of the Atlantic believe that these career changes, although still uncommon, represent acceptance of what was once unthinkable. Maxwell Anderson, director of the Indianapolis Museum of Art, says: “There is a blurring of what used to be clear boundaries between the museum and the trade. What has been surprising with Lisa Dennison is that the museum world is saying ‘how interesting’, not that it traduces the values of the museum.”
Why it is happening is another matter. One US director said: “Museum jobs are getting harder, with greater requirements to raise money, but salaries and professional opportunities are static.”
Not everyone says they left because of dissatisfaction. According to Ben Tufnell, 37, now a curator at Haunch of Venison in London, opportunities to develop his career—and to work with artists such as Richard Long—were major inducements. He says: “I’d been at the Tate for almost nine years, and it was time for a change. In many ways my job is very similar to my job at the Tate. The difference is that the turnaround here is much shorter and there are far fewer people involved in decision-making.”
Amin Jaffer, 38, a former curator and fundraiser at the V&A and now Christie’s international director of Asian art, says that his unusual museum role made the move to the commercial sector easier. “I was responsible for developing the museum’s strategy in India, and I found myself involved in fundraising alongside curating exhibitions. Of course, the people I worked with then are Christie’s clients now.”
Dr Jaffer says that while it would be “hypocritical” to deny that salaries are a factor, it is job satisfaction that was his main motivation. But for some curators at least, pay is an issue.
The Museums Association launched a campaign to tackle low pay for curators in 2004, and as The Art Newspaper went to press, National Museums Liverpool staff were about to strike over pay.
Stephen Snoddy, director at Walsall Art Gallery, says that the numbers of curators leaving public museums in the UK may well increase. “A lot of curators are finding their work increasingly bureaucratic. There are lots of government targets,” he says. “And if you make it to somewhere like the Tate you tend to find that people rarely leave, so progression is slow. You can quite understand people thinking that it might be exciting to try the commercial sector.”
How many more curators will join the trade?
By Jane Morris | Posted 13 September 2007
LONDON. The move from the public to private sector of Guggenheim director Lisa Dennison might be the most visible, but she is not the only curator to cross what used to be an unscalable wall. Curator Jonathan Binstock left the Corcoran Gallery in Washington, DC last month to join Citibank (p12) as an art advisor, while curators Ingrid Dudek and Anne de Pietra both left museums to join Christie’s and the Spanierman Gallery, respectively, last year. At least four UK curators have also moved to the trade in the past year. These include Amin Jaffer who moved from the V&A to Christie’s in June; Emma Dexter from the Tate to Timothy Taylor Gallery in February; Ben Tufnell from the Tate and Nina Miall from the Royal Academy, both to Haunch of Venison late last year.
Directors on both sides of the Atlantic believe that these career changes, although still uncommon, represent acceptance of what was once unthinkable. Maxwell Anderson, director of the Indianapolis Museum of Art, says: “There is a blurring of what used to be clear boundaries between the museum and the trade. What has been surprising with Lisa Dennison is that the museum world is saying ‘how interesting’, not that it traduces the values of the museum.”
Why it is happening is another matter. One US director said: “Museum jobs are getting harder, with greater requirements to raise money, but salaries and professional opportunities are static.”
Not everyone says they left because of dissatisfaction. According to Ben Tufnell, 37, now a curator at Haunch of Venison in London, opportunities to develop his career—and to work with artists such as Richard Long—were major inducements. He says: “I’d been at the Tate for almost nine years, and it was time for a change. In many ways my job is very similar to my job at the Tate. The difference is that the turnaround here is much shorter and there are far fewer people involved in decision-making.”
Amin Jaffer, 38, a former curator and fundraiser at the V&A and now Christie’s international director of Asian art, says that his unusual museum role made the move to the commercial sector easier. “I was responsible for developing the museum’s strategy in India, and I found myself involved in fundraising alongside curating exhibitions. Of course, the people I worked with then are Christie’s clients now.”
Dr Jaffer says that while it would be “hypocritical” to deny that salaries are a factor, it is job satisfaction that was his main motivation. But for some curators at least, pay is an issue.
The Museums Association launched a campaign to tackle low pay for curators in 2004, and as The Art Newspaper went to press, National Museums Liverpool staff were about to strike over pay.
Stephen Snoddy, director at Walsall Art Gallery, says that the numbers of curators leaving public museums in the UK may well increase. “A lot of curators are finding their work increasingly bureaucratic. There are lots of government targets,” he says. “And if you make it to somewhere like the Tate you tend to find that people rarely leave, so progression is slow. You can quite understand people thinking that it might be exciting to try the commercial sector.”
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