LUMEN
Curated by Ginger Shulick
Atlantic Salt
June 26, 2010
4 - 10 pm

ARTISTS
Alex Villar; Lena Thüring; Tattfoo Tan; Sweatshoppe; Grace Exhibition Space; Katja Loher; Ali Hossaini, Ph.D.; Man Bartlett/Flux Factory; Steven Lapcevic and Brendan Coyle.

The Council on the Arts & Humanities for Staten Island (COAHSI) is proud to present Staten Island's first ever cutting-edge video art festival -- LUMEN. LUMEN celebrates video artists from around the world, showcasing work by both established and emerging artists. LUMEN will take place on June 26th, 2010 from 4pm to 12am at Atlantic Salt, 561 Richmond Terrace, Staten Island, NY.

Long thought of as the "forgotten borough," Staten Island is fast becoming a fertile playground for innovative art production and unique artistic collaborations like LUMEN. LUMEN will feature site-specific video installations, 3D-video technology, new media projections, animation, sound-based performances, and art interventions by artists from Staten Island and beyond. LUMEN aims to highlight a diversity of artists at the forefront of their media in an industrial landscape on Staten Island's waterfront. The festival will include performances throughout the day, raffles featuring artists' work, as well as an open bar sponsored by Brooklyn Brewery from 9pm-11pm for ticketed attendees.

About COAHSI
The mission of COAHSI is to cultivate a sustainable and diverse cultural community for the people of Staten Island by: 1) making the arts accessible to every member of the community; 2) supporting and building recognition for artistic achievement; 3) providing artists and organizations technical, financial, and social resources to encourage the creation of new work. COAHSI does extensive outreach to communities that are underserved geographically, ethnically, and economically. The organization works hard to impact the arts across all borders.

Directions

Guided art walks (an approximate 15 minutes walk) from the Ferry Terminal to Atlantic Salt will occur from 4pm-10:30pm to correspond with each in-coming ferry. We are looking for more volunteers and artists who would be interested in leading these artistic processions to the site, please use the Volunteer contact form on the website to apply!

Biking/Driving: Head west on Richmond Terrace from the Staten Island Ferry past the Richmond County Ballpark towards Jersey Street. 561 Richmond Terrace will be on your right, the intersection is with Lafayette Avenue.

Public Transportation: 1,R and W trains stop at Whitehall/South Ferry station in Manhattan and the 4 and 5 stop nearby at Bowling Green station. Take the FREE Staten Island Ferry and transfer to the S40 Bus on Ramp D, which will take you down Richmond Terrace to Lafayette Ave.

Staten Island Ferry Schedule

LUMEN
Atlantic Salt 561 Richmond Terrace
Staten Island, NY 10301
www.lumenfest.org
gshulick@statenislandarts.org

CITY BEATS
Curated by Berit Fischer
BankArt
June 25 - July 15, 2010

ARTISTS
Laura Bruce, Rainer Ganahl, Dryden Goodwin, Alexander Heim, Ben Judd, Stephan Pascher, Jeff Preiss, and Alex Villar

The urbanscape can best be understood as a site in which multiple spaces, temporalities and webs of relations are co-present, and in which local sites and subjects are tied into globalising economic, social and political systems.

Similar to the implications of rhythm, the pulse of a metropolis is pervaded by regulated recurring patterns and repetitions of behaviors, habits and urban rituals. Prescriptive codes that define daily life correlate with micro geographies in which the human body defines the social and biological rhythm.

The artists in City Beats respond to both physical architecture as well as sociopolitical and psychogeographical environments and structures. They apply their own sets of codes to decompose and re-configure general frameworks.

While interrogating the ways our daily actions are conditioned and controlled, the constructed mechanisations of life and belief systems of the socially-produced space, homogeneity and collective discipline are scrutinized, fostering the development of a critical attitude towards what otherwise might often be ignored or taken for granted.
City Beats employs video to compile a cacophony of glances at non-events within the urban commonplace and offers new ways of looking at the structured relationships between time and place, private and public, framework and content; it creates a temporal look at urban space and the human condition within it.

BANKART 1929
3-9 Kaigan-dori, Naka-ku, Yokohama 231-0002
Tel: 045.663-2812 info@bankart1929.com
www.bankart1929.com

EXPERIMENTAL GEOGRAPHY
Curated by Nato Thompson
The James Gallery
June 24-August 27, 2010
No opening (upcoming panel discussion noted below)

ARTISTS
Francis Alys, AREA Chicago, The Center for Land Use Interpretation (CLUI), Center for Urban Pedagogy (CUP), kanarninka (Catherine D'lgnazio), e-Xplo, Ilana Halperin, Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker (project organizer), Alex Villar, and Yin Xiuzhen.

Experimental Geography presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 18 artists or artist teams from six countries as well as the United States.

Geography can involve the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer -- an amalgam of scientist, artist, and explorer -- is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of "experimental geography" (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running the evacuation route of Boston. In the hands of contemporary artists, the study of humanity's engagement with the earth's topography becomes a riddle best solved in experimental fashion.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Ilana Halperin melds immediate physical and personal actions with geologic contexts; she offers poetic conflations of differing fields of interest. Creating projects that are more empirically minded, The Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth's surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, the work re-familiarizes the viewer with the overlooked American landscape, including man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains, and other details drawn from everyday experience.

Panel Discussion
This panel discussion features Experimental Geography exhibition curator Nato Thompson, artists Lize Mogel and Trevor Paglen, and David Harvey, social theorist and Distinguished Professor of Anthropology at the Graduate Center, CUNY. This event is free and open to the public, though reservations are required. You may RSVP by phone at 212-817-7295.
Panel date: Tuesday, July 20, 6-7:15 pm
The Graduate Center, CUNY
365 Fifth Avenue
New York, NY 10016

Catalog
The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by curator Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist's statements; and brief texts on forms of artistic practice.

Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates and the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson. Its presentation at DePauw University has been generously funded by the Richard D. and Barbara Dixon Harrison Exhibition Fund.

Nato Thompson is a curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

Founded in 1975, iCI is a non-profit organization dedicated to enhancing the understanding and appreciation of contemporary art through traveling exhibitions and other activities that reach a diverse national and international audience. Collaborating with a wide range of eminent curators, iCI develops innovative traveling exhibitions, accompanied by catalogues and other educational materials, to introduce and document challenging new work in all mediums by younger as well as more established artists from the United States and abroad.

THE JAMES GALLERY
The Graduate Center, CUNY
365 Fifth Avenue
New York City
www.gc.cuny.edu

THE PHILOSOPHY OF MONEY
Curated by Miguel Amado
Museu da Cidade, Lisbon
Opening: June 22, 10 pm
June 23 through September 5

ARTISTS
Works by Alejandro Vidal, Alfredo Jaar, Carey Young, Carolina Caycedo, Cildo Meireles, Danica Phelps, Henrik Plenge Jakobsen, Joana Bastos, Liam Gillick, Lotte Lindner & Till Steinbrenner, Mads Lynnerup, Mariana Silva, Melanie Gilligan, Michael Elmgreen & Ingar Dragset, Michael Mandiberg, Nika Oblak & Primoz Novak, Raymond Pettibon, Regina José Galindo, Rita GT, Runo Lagomarsino, Ruth Ewan, Sara & André, Sparring Partners, Superflex, Triiibe, Hakan Topal + Alex Villar, Yonamine e Zanny Begg + Oliver Ressler

Lisbon City Council and Miguel Amado Projects are presenting the exhibition "The Philosophy of Money", which opens on June 22 at 10 pm at the Pavilhão Branco of the Museu da Cidade in Lisbon. This exhibition brings together works by 28 artists who, in the light of the current financial crisis, examine money as the "God of the modern age".

This exhibition is inspired by the theses of German philosopher Georg Simmel in the book "The Philosophy of the Money", published in 1900. The exhibition examines the capitalist system as a way of life in contemporary times, as well as the renewed critique one of its basis generated by the current financial crisis. The works that are presented in this exhibition, several of which were commissioned, explore money in its multiple symbolic facets - from means of exchange to icon - and address the present economic recession, illustrating art's answers to such reality.

Simmel studied the psychological dimension of the monetarization of Western societies, considering money as the "God of the modern age". For Simmel, the replacing of the traditional bonds existing between the individuals by money implied the depersonalization of social relations, the origin of the paradigm of the free initiative, one of the features of capitalism along with private property. This theoretical legacy characterizes, through a critical perspective, the vision of the world of the artists who are participating in this exhibition. Among other topics, the works on view redesign paper-currency, quote political manifestos and movements marked by the resistance to dominant thinking, question the predominance of the corporative ideology and ironize about the commodification of the artistic object.

MUSEU DA CIDADE
Campo Grande, 245
1700-91 Lisboa, Portugal
T. 21 751 32 00
F. 21 757 18 58
www.museudacidade.pt

BODIES OF DISPERSION: MECHANISMS OF DISTENTION
Curated by Denise Carvalho
Assistant Curator: Brooke Chroman
Galeria Arsenal
May 21 - June 20, 2010

ARTISTS
Øyvind Renberg (Norway) and Miho Shimizu (Japan) participate in a group exhibition with Alex Villar (USA), Elin Wikström (Sweden), spurse (USA), eteam (USA), xurban collective (USA) and Artur Zmijewski (Poland).

The exhibition examines the relationship between the singular body and its mechanisms of multiplicity in everyday life.

Discussion panel: Saturday May 22, 2010, 12.00 a.m.
Panelists: Denise Carvalho, Jaroslaw Lubiak, Ginger Shulick, Marek Wasilewski.

SUPPORT
Project partner: New York Foundation for the Arts, with the financial aid of the Trust for Mutual Understanding.

Project carried out with the funds of the Ministry of Culture, National Heritage, Office for Contemporary Art Norway.

Gallery media patronage: Gazeta Wyborcza, TVP Kultura, Polskie Radio Bialystok.

Gallery is financed by the City of Bialystok.

The exhibition is held as a part of the 25th Days of Modern Art.

ARSENAL GALLERY
ul. A. Mickiewicza 2, 15-222 Bialystok, Poland.
e-mail:mail@galeria-arsenal.pl
www.galeria-arsenal.pl

FORCE OF FORWARD
Curated by Leo Kuelbs
Manhattan Bridge Anchorage
April 8 - 10, 2010

ARTISTS
Daniel Leeb, Christine Schulz, Tamas Veszi and Alex Villar

"Force of Forward" is a three-evening video event exploring the nature of momentum and forward motion as its basis, presented on the anchorage of the Manhattan Bridge. As trains, cars, trucks, bicycles and pedestrians pass overhead, curator, Leo Kuelbs, has selected four artists, with international backgrounds, to articulate how the velocity of life varies from city to city. These differences are felt keenly by the artists who experience them from their own, unique, international and personal perspectives. The program begins at sundown and is comprised of four short videos (mostly around 5 minutes) set to loop until Midnight.

Daniel Leeb's "E=Mcycle ver2.5," uses a front-mounted camera to capture the essence of a bicycle delivery rider moving through the living, shifting city streets.

Tamas Veszi's "Waiting" is an indefinable entity, like an infinite and invisible transportation unit passing over from a static winter to a dynamic spring while localizing the moment that is in motion.

Christine Schultz's "GODSPEED IV" is a work with video sequences and animated collages of the world of motion, our today's reality, high and low, tourism of the future, holidays on the moon.

Alex Villar's "Dribbling the Field" conflates the action of dribbling in a soccer game with the experience of finding one's way in the city. Differently from the soccer player, the city player runs backwards.

"Force of Forward" is presented by Leo Kuelbs Collection, "New York City Department of Transportation's Urban Art Program under its Arterventions public art track" and Frederico Sève/Latin Collector Gallery, NYC.

MANHATTAN BRIDGE ANCHORAGE
At intersections of Front St./Pearl/Anchorage Place
Dumbo, Brooklyn
New York, NY

Press
Benjamin Sutton, Manhattan Bridge Anchorage Doubling as Video Art Screen Through Saturday (New York: L Magazine, the Measure, April 8 2010)

EXPERIMENTAL GEOGRAPHY
Curated by Nato Thompson
Colby Museum
February 21 - May 30, 2009

Experimental Geography presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 18 artists or artist teams from six countries as well as the United States.

Geography can involve the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer -- an amalgam of scientist, artist, and explorer -- is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of "experimental geography" (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running the evacuation route of Boston. In the hands of contemporary artists, the study of humanity's engagement with the earth's topography becomes a riddle best solved in experimental fashion.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Ilana Halperin melds immediate physical and personal actions with geologic contexts; she offers poetic conflations of differing fields of interest. Creating projects that are more empirically minded, The Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth's surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, the work re-familiarizes the viewer with the overlooked American landscape, including man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains, and other details drawn from everyday experience.

Artists In the Exhibition: Francis Alys, AREA Chicago, The Center for Land Use Interpretation (CLUI), Center for Urban Pedagogy (CUP), kanarninka (Catherine D'lgnazio), e-Xplo, Ilana Halperin, Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker (project organizer), Alex Villar, and Yin Xiuzhen.

Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates and the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson. Its presentation at DePauw University has been generously funded by the Richard D. and Barbara Dixon Harrison Exhibition Fund.

The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by curator Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist's statements; and brief texts on forms of artistic practice.

Nato Thompson is a curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

Founded in 1975, iCI is a non-profit organization dedicated to enhancing the understanding and appreciation of contemporary art through traveling exhibitions and other activities that reach a diverse national and international audience. Collaborating with a wide range of eminent curators, iCI develops innovative traveling exhibitions, accompanied by catalogues and other educational materials, to introduce and document challenging new work in all mediums by younger as well as more established artists from the United States and abroad.

COLBY MUSEUM
5600 Mayflower Hill Drive
Waterville, ME 04901
www.colby.edu
Maps and Directions

AROUND AMERICA IV: MARKING TIME, MAKING SPACE
Curated by Beth Stryker
Beirut Art Center
Nov 11, 2009

Artists
Matthew Buckingham, Oliver Herring, Gordon Matta-Clark, Ana Mendieta and Alex Villar.

Following on the imperative of Matta-Clark and his fellow anarchitects to "[make] space without building it," the artists in this screening perform critical, spectacular, and spatial interventions at various scales: of the body, the building, the city, and the landscape. Utilizing the moving image as a tool in the marking, mapping, and etching of site, these works explore America both through an examination of those spaces which are overlooked (the voids and the gaps which don't appear in master plans), and through a study of the ways in which the act of cartography impartially inscribes and describes nation and place.

Matthew Buckingham
Muhheakantuck-Everything Has a Name
2003, 40 minutes, color, sound, 16mm film on video.
Courtesy of Murray Guy Gallery

Originally presented as screenings in 2003 onboard a NY Water Taxi navigating the Hudson River, Buckingham's film explores the social and political impact of the relatively brief but violent period of contact between Dutch colonists and the Lower Hudson River Valley's indigenous Lenape people. By examining how maps are constructed, how places are named (and thereby owned), and what stories are left silent, the film exposes the consequences of Henry Hudson's journey. Buckingham's narrative reminds us that "The river that became known as the Hudson was not discovered--it was invented and re-invented." "Muhheakantuck-Everything Has a Name" juxtaposes two related modes of representation--historical narrative and geographic mapping--and asks whether the practices of history and cartography are adequate to describe it as a space and place.

Oliver Herring
Waterloo Street
2007, 4:20 minutes, color, sound, video.
Courtesy of Max Protetch Gallery

Waterloo St. documents a performance Herring staged with local kids in a rough North Philadelphia neighborhood as part of his Task improvisatory workshops. Task's open-ended, participatory structure provides a framework for unexpected interactions between the children and the city, transforming structures and spaces through play, turning parking lots into swimming pools.

Gordon Matta-Clark
Splitting
1974, 10:50 min, black & white and color, silent, Super 8mm film on video.
Courtesy of Electronic Arts Intermix (EAI)

This film documents the major building cut performed by Matta-Clark on a house on Humphrey Street in Englewood, New Jersey in 1974. One of a number of Matta-Clark's interventions into abandoned urban structures, the work reflects Matta-Clark's concern with the non-monumental, what he called the "non-u-mental." Trained as an architect, Matta-Clark practiced and was a proponent of "Anarchitecture" - "making space without building it."

Ana Mendieta
Anima, Silueta de Cohetes (Anima, Silhouette of Fireworks)
1976, color, silent, Super 8mm film on video.
Courtesy of Galerie Lelong

"Anima, Silueta de Cohetes" is one of a series of performances Ana Mendieta undertook and documented while a student at the University of Iowa. Informed by her identity as a Cuban exile living in the US, her "Silueta" series marked Mendieta's interventions in the landscape, etching traces of her body through various means. "Anima" records the artist's wicker effigy exploding with fireworks at night-time, an act at once of inscription and erasure.

Alex Villar
Temporary Occupations
2001. 6 minutes, silent, video.
Courtesy of the Artist

Temporary Occupations depicts a person running on the sidewalk in New York while ignoring the city's spatial codes and therefore resisting their effects upon the organization of everyday experience. The clips in the video register situations of temporary invasion and occupation of private spaces located in a public setting. The action simply articulates the continuity of these spaces with the remaining areas from which they were extricated, drawing attention to, and possibly subverting, the boundaries that demarcate them.

More Info
About the Participants

BEIRUT ART CENTER
Jisr El Wati - Off Corniche an Nahr. Building 13, Street 97, Zone 66 Adlieh. Beirut, Lebanon.
E: info@beirutartcenter.org
T: +961 (0) 1 397 018 / +961 70 26 21 12
www.beirutartcenter.org
Map and Directions

Beirut Art Center (BAC) is a non-profit association, space and platform dedicated to contemporary art in Lebanon.

AVANT-GUIDE TO NYC: DISCOVERING ABSENCE
Curated by Sandra Skurvida
Apexart
Nov 4 to Dec 19, 2009

Artists
Julieta Aranda, caraballo-farman, Kabir Carter, Dexter Sinister, Eckhard Etzold, Andrea Geyer, Pablo Helguera, Nancy Hwang, Pia Lindman, Anna Lundh, Nina Katchadourian, Carlos Motta, Angel Nevarez & Valerie Tevere, Hatuey Ramos-Fermin, Katya Sander, Ward Shelley, Xaviera Simmons, and Alex Villar.

Finding our way around the city, we are navigating among interconnected pasts and presents of people, places, and events that make up the histories that we choose to investigate, record, and possibly reclaim. AVANT-GUIDE TO NYC maps these "minor" histories in the cultural environment of New York of the twentieth century. Marcel Duchamp's studio, Art of This Century, and Group Material - where are these places, and what do they represent today? Visits to many notable addresses reveal that current functional existence of the place - a store, a loft, or a street corner - has been estranged from its discursive role. The intent of this project is to resituate these places and their narratives in the time bend between past and present - in the actuality.

This project started as a compendium and documentation of art sites in the city. Yet any attempt at documentation only confirms the fact that an investigative archive is not stable -- it is responsive, evolves in time, and requires constant updating. Realization of a "live archive" calls for a networked approach -- preliminary research has been presented to a number of artists who are engaged in contextual, collaborative, and public art practices. The artists added their own multiple and variegated points of interest to the list -- their responses to the research initiative, presented in this exhibition, proceed from documentation towards production of history.

More Info
About the Exhibition
Download Exhibition brochure

APEXART
291 Church Street
New York, NY 10013
t. 212.431.5270 f. 646.827.2487
info@apexart.org www.apexart.org
Map and Directions

apexart is a tax-deductible 501(c)(3), not-for-profit organization

apexart's exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts, Carnegie Corporation of New York, Edith C. Blum Foundation, Mary Duke Biddle Foundation, The Greenwich Collection Ltd., The William Talbott Hillman Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts.

EXPERIMENTAL GEOGRAPHY
Curated by Nato Thompson
Miller Gallery
October 9 - January 21, 2009

Experimental Geography presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 18 artists or artist teams from six countries as well as the United States.

Geography can involve the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer -- an amalgam of scientist, artist, and explorer -- is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of "experimental geography" (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running the evacuation route of Boston. In the hands of contemporary artists, the study of humanity's engagement with the earth's topography becomes a riddle best solved in experimental fashion.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Ilana Halperin melds immediate physical and personal actions with geologic contexts; she offers poetic conflations of differing fields of interest. Creating projects that are more empirically minded, The Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth's surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, the work re-familiarizes the viewer with the overlooked American landscape, including man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains, and other details drawn from everyday experience.

Artists In the Exhibition: Francis Alys, AREA Chicago, The Center for Land Use Interpretation (CLUI), Center for Urban Pedagogy (CUP), kanarninka (Catherine D'lgnazio), e-Xplo, Ilana Halperin, Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker (project organizer), Alex Villar, and Yin Xiuzhen.

Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates and the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson. Its presentation at DePauw University has been generously funded by the Richard D. and Barbara Dixon Harrison Exhibition Fund.

The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by curator Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist's statements; and brief texts on forms of artistic practice.

Nato Thompson is a curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

Founded in 1975, iCI is a non-profit organization dedicated to enhancing the understanding and appreciation of contemporary art through traveling exhibitions and other activities that reach a diverse national and international audience. Collaborating with a wide range of eminent curators, iCI develops innovative traveling exhibitions, accompanied by catalogues and other educational materials, to introduce and document challenging new work in all mediums by younger as well as more established artists from the United States and abroad.

MILLER GALLERY
at Carnegie Mellon University
Purnell Center for the Arts
5000 Forbes Ave.
Pittsburgh, PA 15213
412 268-3618
millergallery.cfa.cmu.edu
Maps and Directions

SUBVERSIVE SPACES
Surrealism and Contemporary Art
Curated by Anna Dezeuze, Sam Lackey and David Lomas
Sainsbury Centre for Visual Arts
29th Sep 2009 - 13th Dec 2009

ARTISTS
Surrealists: Dorothea Tanning, Claude Cahun, Salvador Dalí­, Max Ernst, René Magritte, Hans Bellmer, Dora Maar, Jacques-André Boiffard, Brassaï, Giorgio De Chirico, Eugéne Atget, Humphrey Spender, Henri Michaux.
Contemporary: Lucy Gunning, Anna Gaskell, Sarah Lucas, Douglas Gordon, Markus Schwinwald, Paula Rego, Francesca Woodman, Robert Gober, Mona Hatoum, William Anastasi,Tony Oursler, Ralph Rumney, Katie Holten, Francis Alÿs, Alex Villar.

Subversive Spaces examines past and present representations of space through two main locations: the domestic interior and the streets of the city. Moving from the work of Salvador Dalí and René Magritte where nothing is what it seems, to the dangerous playpens of Mona Hatoum and Robert Gober, the home becomes a locale for unease and disquiet rather than comfort. Meanwhile the city streets, wastelands and ruins are considered as sites to be reclaimed by the artist. Following the Surrealists' random explorations of Paris, visually represented in the photographs of a disappearing city by Brassai and by Eugene Atget, the exhibition looks at contemporary artists' routes around the city including Alex Villar's attempts to inhabit cracks and gaps around the city to Francis Alÿs' interaction with London's streets.

Related info
Catalog

SAINSBURY CENTRE FOR VISUAL ARTS
University of East Anglia
Norwich NR4 7TJ UK
01603 593199
www.scva.org.uk
Map and directions

CITY BEATS
Curated by Berit Fischer
Dorsky Gallery | Curatorial Programs
September 13- November 15, 2009

City Beats employs video to compile a polyrhythmic cacophony of glances at non-events within the urban commonplace and offers new ways of looking at and questioning structured relationships between the elements of time and place, private and public, framework and content. Similar to the implications of rhythm, the pulse of a metropolis is pervaded by regulated recurring patterns and repetitions of behaviors, habits and urban rituals. Prescriptive codes that define daily life correlate with micro geographies in which the human body defines the social and biological rhythm. While interrogating the ways our daily actions are conditioned and controlled, City Beats creates a temporal look at urban space and the human condition within it. Urban space, (insomuch as it is a primary, representative space of a given society) is a social product, a complex social construction that is based on a shared system of cultural values and the social production of meanings that affect spatial practices and perceptions.

The artists in City Beats - Laura Bruce, Rainer Ganahl, Dryden Goodwin, Alexander Heim, Ben Judd, Stephan Pascher, Jeff Preiss, and Alex Villar - respond to both physical architecture as well as sociopolitical and psychogeographical environments and structures; the exhibition aims to stimulate in its viewers a new and critical awareness of the urban everyday.

About the curator
Berit Fischer has been an independent curator for contemporary art since 1999. Previously based in New York and London, she currently lives and works in Berlin, Germany. She is one of the co-founding curators of The Brewster Project (2001) and has curated shows in the U.S.A. including the Brooklyn Waterfront Outdoor Sculpture exhibition at the Fulton Ferry Park, D.U.M.B.O Arts Festival, and Cuchifritos, and internationally at Intrude 366 at Zendai MoMA, Shanghai (China) and the Standpoint Gallery (London, UK) among many others. She was awarded a residency at Delfina Studio Trust (London, UK) and participated at the European Course for Contemporary Art Curators (Milan, Italy) with visiting professor Charles Esche. Additionally, Ms. Fischer has worked since 2006 for the arts journal Afterall (London, UK).

About DGCP
Dorsky Gallery Curatorial Programs is a 501(c)(3) not-for-profit organization that presents independently-curated exhibitions of contemporary art. Working with curators, writers, and art historians, DGCP aims to illuminate and deepen the public's understanding and appreciation of issues and trends in contemporary art. Contact David Dorsky at (718) 937-6317 or via email at david@dorsky.org

More info
Exhibition brochure
Conversation and reading

DORSKY GALLERY | Curatorial Programs
11-03 45th Ave., Long Island City, NY 11101 tel 718.937.6317
Gallery hours: Thursday through Monday, 11:00 a.m. to 6:00 p.m. (closed Tuesday and Wednesday), and by appointment.
www.dorsky.org
Map and directions

THE END, AND
Co-curated by Leo Kuelbs, Angela Freiberger and Michelle Heinz
Frederico Sève Gallery/LatinCollector
July 23- August 22, 2009

Frederico Sève Gallery/latincollector proudly presents The End. And..., a subjective documentary show. Why subjective documentary? Because reality is inevitably altered and reshaped during the various processes of documentation. Because, representation is by nature never democratic. Because when multiple subjectivities are represented in arenas of free expression and artistic production, history becomes a constant current event; we enter into an eternal state of becoming, full of surprise and life. Subjectivity is more than a given, it is a frontier.
 
Previously, history was written by the victors. Today it is being documented and posted immediately via the internet from a bystander's mobile phone. These artists: Elly Clarke, Suely Farhi, Livia Flores, Anna Bella Geiger, Daniel Leeb, Carlos Motta, Sebastián Patané Masuelli, Christine Schulz, Adriana Varella, Alex Villar, Jonathan Villoch & Alex Lopez, all work within this contemporary situation. Their orientation to the viewer is a self-aware understanding that their documentations of reality are now potentially as substantial as they were previously tenuous. Some of them scale ineptitudes of wholeness by bypassing semblances of "real" altogether and veering off into landscapes of the unconscious. While others, through the use of collaboration, interviews and artifacts create platforms for multiple authors; and thus, multiple points of view.
 
The modes of production are as varied as the methodologies employed. Photography, performance, podcast, painting, installation, video, film and digitally recorded accounts of events are all employed to articulate subjectivity.
 
The End. And... celebrates a broad definition of documentary where fact and fiction exist on the same line, as opposed to on different sides of it. Sometimes, the self is alone contemplating reality as it is descends upon the senses and passes through the imagination. At other times the self is social and engaged in attempts to navigate reality by mediating through language.

FREDERICO SEVE GALLERY/LATINCOLLECTOR
37 West 57th Street
4th Floor
New York, NY 10019
T: 212.334.7813
F: 212.334.7830
www.latincollector.com

EXPERIMENTAL GEOGRAPHY
Curated by Nato Thompson
Albuquerque Museum
June 28 - September 20, 2009

Experimental Geography presents a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography created by 18 artists or artist teams from six countries as well as the United States.

Geography can involve the study of specific histories, sites, and memories. Every estuary, landfill, and cul-de-sac has a story to tell. The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer -- an amalgam of scientist, artist, and explorer -- is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of "experimental geography" (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art of the breaths exhaled in running the evacuation route of Boston. In the hands of contemporary artists, the study of humanity's engagement with the earth's topography becomes a riddle best solved in experimental fashion.

The approaches used by the artists featured in Experimental Geography range from a poetic conflation of humanity and the earth to more empirical studies of our planet. Ilana Halperin melds immediate physical and personal actions with geologic contexts; she offers poetic conflations of differing fields of interest. Creating projects that are more empirically minded, The Center for Land Use Interpretation (CLUI), a research organization, explores the nature and extent of human interaction with the earth's surface, embracing a multidisciplinary approach to fulfilling its mission. Using skill sets culled from the toolbox of geography, the work re-familiarizes the viewer with the overlooked American landscape, including man-made islands, submerged cities, traffic in Los Angeles, and the broadcast antennas in the San Gabriel Mountains, and other details drawn from everyday experience.

Artists In the Exhibition: Francis Alys, AREA Chicago, The Center for Land Use Interpretation (CLUI), Center for Urban Pedagogy (CUP), kanarninka (Catherine D'lgnazio), e-Xplo, Ilana Halperin, Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker (project organizer), Alex Villar, and Yin Xiuzhen.

Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates and the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson. Its presentation at DePauw University has been generously funded by the Richard D. and Barbara Dixon Harrison Exhibition Fund.

The exhibition is accompanied by an illustrated catalogue co-published by iCI and Melville House Publishing. The catalogue includes essays by curator Nato Thompson, art historian Jeffrey Kastner, and artist Trevor Paglen; artist's statements; and brief texts on forms of artistic practice.

Nato Thompson is a curator at Creative Time, New York, as well as a writer and activist. Among his public projects for Creative Time are Waiting for Godot in New Orleans, a project by Paul Chan in collaboration with The Classical Theatre of Harlem, and Mike Nelson: A Psychic Vacuum. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

Founded in 1975, iCI is a non-profit organization dedicated to enhancing the understanding and appreciation of contemporary art through traveling exhibitions and other activities that reach a diverse national and international audience. Collaborating with a wide range of eminent curators, iCI develops innovative traveling exhibitions, accompanied by catalogues and other educational materials, to introduce and document challenging new work in all mediums by younger as well as more established artists from the United States and abroad.

ALBUQUERQUE MUSEUM
2000 Mountain Road NW
Albuquerque, NM 87104
Phone: (505) 243-7255
www.albuquerquemuseum.com

EVERYTHING, THEN, PASSES BETWEEN US
Curated by Christine Nippe
Kölnischer Kunstverein
June 27 - August 23, 2009

ARTISTS
Vito Acconci, Johanna Billing, Olga Chernysheva, Song Dong, Anja Kirschner, Klara Lidén, Improv Everywhere, Cinthia Marcelle, Marjetica Potrè, Christine Schulz, Alex Villar, and Haegue Yang

ABOUT
The exhibition Everything, then, passes between us shows snap-shots of urban life. It asks how forms of public or of temporary communities can be produced nowadays. The artists question fragmentary aspects of metropolises in times of global turmoil and ask for actual ideas of community and collectivity in the cities. The exhibition, curated by Christine Nippe together with Kathrin Jentjens and Anja Nathan-Dorn, places its focus on artistic interventions and performances in global metropolises such as Beijing, Belo Horizonte, Berlin, Cologne, London, New York and Seoul, and shows The Metropolis and Mental Life, only one hundred years after Georg Simmel's famous essay on the mentality of the inhabitants of big cities, published in 1903.

The exhibition's display and content correspond to the current state of flux and chaos. European borders are left behind, while the exhibition interconnects different places and observes global cities as laboratories of society. How space is structured, how people use it, how they move within it and how they interact are the core questions. The artists use ethnographic, mapping, and performance tactics to question the local logics. Sometimes they activate - although only for a short moment - transitory communities in public realms. For most performances interventions are used to expand reality and they often veer away from approaches from the nineties that designed alternative spaces and visions of a better future with the help of Michel Foucault's concept of "Heterotopy." The exhibition confronts the audience with situations in which the quest dominates the answers. The performances point out social gaps or possibilities for temporary "zones of contact" rather than having answers at hand. Sometimes they grow into neurotic reflections of urban emotional structures, withdraw or lapse into a farcical activism. Some artists show persistence in their quest for different "communities of conflict" that have to develop in view of an economical and ecological decay.

The selections of exhibited art works, as well as the exhibition's title, were both inspired by ideas of the British art theoretician Irit Rogoff. She talks about a collective production of meaning that nowadays takes place through "intricate webs of connectedness" or hidden forms of participation rather than through the myth of defined communities. According to Rogoff, exhibitions can be seen as a space in which political appearances or "politics without a plan" develop, enabling a performative potential if viewers develop their own focus, perspectives, and interpretations. Then, "acting without a model" takes place. We become participants of a collective turmoil reminding us of the current situation in society, where Everything, then, passes between us takes place.

Photo documentation by Simon Vogel

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