République, new space, Paris

Chantal Crousel just opened a second space in Paris called République. Indeed, this new 700m2 gallery is located in the area of République, 11F, rue Léon Jouhaux, 75010. Open from Wednesday to Friday (1pm-7pm).
La Règle du Jeu, a collective exhibition with Claire Fontaine, Wade Guyton, Fabrice Gygi, Thomas Hirschhorn, Martin Kippenberger, Jean-Luc Moulène, Gabriel Orozco, Virginia Overton, Seth Price, Clément Rodzielski, Alain Séchas, Reena Spaulings, Danh Vi and Heimo Zobernig. (October 21 - December 17)

REPUBLIQUE

MYRIORAMA by Estelle Hanania, Paris

MUDDY, New York

EMMELINE DE MOOIJ
MUDDY
The era of the unexplainable growth of gravity has come. With it an increasing number of sinkholes, cases of arthritis, high blood pressure and an overall mood of pressure. The rocket digs itself and it is here I define my excavation site.

March 6, 2010 - April 16, 2010
Opening & Book Launch: Saturday, March 6th, 7pm - 10pm

Capricious Space proudly presents Dutch artist Emmeline de Mooij’s first solo show in the United States. The exhibition will consist of site-specific sculptural installations, photos, collage and screen printing. She will also be launching her new book, co-published by Capricious, also titled Muddy.
“Gravity grows and my overweight forces me to descend into the ground - behind the skin, beyond daylight. I have signed up for the course 'Cave Diving Inside the Brain'. When I sink up to my knees into the brown substance, I find myself face to face with a troll. She introduces herself as Muddy and tells me about the ultimate wish for weightlessness. I say, 'Yes, I see, but, just these heavy clothes I bought myself'...” –Emmeline de Mooij


About Emmeline de Mooij
Born in Delft, The Netherlands, in 1978, she now lives and works in both New York and Amsterdam. de Mooij's work consists of installations, photographs and performances. She has had solo shows in Villa Nouailles (Hyeres, France), Steinsland/Berliner (Stockholm), Salone del Mobile (Milan), Tsumori Chisato (Paris), and Motive (Amsterdam). Group shows have included: the Stedelijk Museum (Amsterdam), Robert Berman (Los Angeles), Art Cologne (Germany), YK3 (Melbourne). Honors de Mooij has been awarded: Scholarship Award Photo Global Program School of Visual Arts New York, shortlist Hyeres photography Competition (France), Kunsthuis SYB residency (The Netherlands), First Prize Selfware Competition (Austria). Her work has been published in the New York Times, Museum Paper, Purple Magazine, Dazed&Confused, GLU magazine, Dagens Nyheter, YKKY, Volkskrant. In 2009 she published the book Bush Compulsion in collaboration with artist Melanie Bonajo.


About Capricious Space
Capricious Space is located in Williamsburg, Brooklyn. Our mission is to be a sanctuary away from the city’s clamor and strife. Capricious Space invites emerging artists and curators to transform the space according to their own visions and dreams, thus bringing the Capricious generation together. Please visit our website for information on upcoming exhibitions.

Capricious Space

Independent, New York

Part consortium, part collective, INDEPENDENT lies somewhere between a collective exhibition and a reexamination of the art fair model, reflecting the changing attitudes and growing challenges for artists, galleries, curators and collectors.

March 4, 2010
548 West 22nd Street

Participants include:

ANCIENT & MODERN (LONDON)
THE APPROACH (LONDON)
ARTISTS SPACE (NEW YORK)
GALERIE BALICEHERTLING (PARIS)
LAURA BARTLETT (LONDON)
BOLTELANG (ZÜRICH)
BORTOLAMI GALLERY (NEW YORK)
GALERIE ISABELLA BORTOLOZZI (BERLIN)
ELIZABETH DEE (NEW YORK)
DISPATCH (NEW YORK)
FARIMANI
GAVLAK GALLERY (PALM BEACH)
GB AGENCY (PARIS)
HARD HAT (GENEVA)
HOTEL (LONDON)
INDEPENDENT CURATORS INTERNATIONAL (NEW YORK)
GALERIE BEN KAUFMANN (BERLIN)
JOHANN KÖNIG (BERLIN)
ANDREW KREPS GALLERY (NEW YORK)
LUBOK
KATE MACGARRY (LONDON)
MCCAFFREY FINE ART (NEW YORK)
MESTRE PROJECTS (BARCELONA/NEW YORK)
MITTERRAND + SANZ (ZÜRICH)
MOSS/WESTREICH-WAGNER (NEW YORK)
NEW GALERIE (PARIS)
OCTOBER
MAUREEN PALEY (LONDON)
RENWICK GALLERY (NEW YORK)
RESERVED FOR LEO CASTELLI
RODEO (ISTANBUL)
SABOT (CLUJ-NAPOCA)
STUART SHAVE/MODERN ART (LONDON)
SUTTON LANE (LONDON/PARIS)
VW (VENEKLASEN/WERNER)/
MICHAEL WERNER GALLERY (BERLIN/NEW YORK)
WHITE COLUMNS (NEW YORK)
WINKLEMAN GALLERY (NEW YORK)
GALERIE JOCELYN WOLFF (PARIS)
ZERO (MILAN)


Special artists projects by:

THE BRUCE HIGH QUALITY FOUNDATION
CLAIRE FONTAINE
DEXTER SINISTER
ALEX WATERMAN

Breaking Point – Kathryn Bigelow's life in art, Paris

Breaking Point – Kathryn Bigelow's life in art
January 16 - March 13, 2010
castillo/corrales, 65 rue Rébeval, Paris 19e, Metro: Belleville
Opening reception: Saturday the 16th of January, 6.00-9.00 PM

How to begin? The rhetoric of violence in visual arts between genre movies and performance art? Mass media as an anti-model in avant-garde, or the place of women in conceptual art? Paradoxes in criticality and high production value moviemaking? Maybe auteurism, authority and collaborative creativity?

Let’s keep it simple: in the 1970s in New York, Kathryn Bigelow was part of the art world. She collaborated with Lawrence Weiner, Art & Language, Vito Acconci, Richard Serra, and others. This was long before she directed the “action-packed” Hollywood movies Blue Steel, Point Break or Strange Days and established herself as one of the very few female film directors with a penchant for genre movies and gender roleplays – something which made her appreciated as much as an auteur than as a case study in film criticism and women studies.

Some might say her conceptualist past isn’t more than just a mere footnote in her biography, a funny anecdote to remember to tell at a social dinner. Others would reply that you can’t happen to sing Art & Language lyrics just by chance. But how formative exactly were these formative years? And also: how can one determine whether one’s early years are just a hitch or the origins of everything that followed? Is this a question of contradiction and self-denial or continuity and achievement?

Breaking Point traces Kathryn Bigelow’s trajectory in art in the 1970s and subsequent progression into the contemporary popular cinematic landscape starting in the mid 1980s. The exhibition starts with Lawrence Weiner’s video of a young Bigelow reading aloud in a mise-en-scène similar to a romantic post-Nouvelle Vague sequence. We then follow her path from contributions to The Fox journal and the early issues of Semiotext(e) to Cinématographe and L’Ecran Fantastique, from collaborating with The Red Krayola and New Order, from quoting Jurgen Habermas and Mao Tse-Tung to casting Jamie Lee Curtis and Angela Bassett, from participating in the 1976 Venice Biennale to the 2010 Academy Awards, where her 2009 film The Hurt Locker is an award frontrunner.

Photo: Art & Language (Mayo Thompson, Christine Kozlov, Kathy Bigelow, Jesse Chamberlain, Paula Ramsden and Mel Ramsden) in “…And now for something completely different”, a sequence from Zoran Popovic’ “Struggle in New York”, 1976. From “Schema Informazione” #3, Firenze, n.d.

Fantastique des Mirages, Paris

I'm done worryin' about shit. Los Angeles

Dan Attoe
"I'm done worryin' about shit."
September 12 - November 14, 2009


Peres Projects is pleased to present a series of new works by Dan ATTOE (1975, Washington), "I'm done worryin' about shit."

EVERYTHING STARTS AS SOMETHING YOU DON'T UNDERSTAND
"All my paintings and neon come from a process of creating a new image every day. For seven years I did a painting every weekday, now I do daily drawings. This is partially out of respect for all of the people I know who work regular jobs, because I don't consider myself different from them. It's also partially out of an enjoyment of the freedom I have in my practice and a desire to push myself and see what I can come up with next. Finally, it's because I have an interest in maintaining a record of my intellectual development, for myself, and for anthropological purposes.

As part of my commitment to all of these things, it's my opinion that honesty plays an important role in choosing the images I make. What I take to be "honest" is a matter of paying attention to things that I'm genuinely interested in. To me this means listening to my biological and intellectual needs without worrying about looking socially unacceptable, smart, out of touch or pandering to my conscience. From any given series of ideas to draw or paint, I'll choose those that have a certain "electricity" to them, that hold my attention and get me excited or engaged.

In order to maintain vitality my process has to remain flexible. I can't hold myself to any one line of thought, a style, or subject matter. At the same time, I'm a slow learner, and there are certain things that seem to be limitless in their value to me, such as: wilderness landscapes, sex and violence. These particular subjects are due to things I imprinted on in my rural childhood, things I have attraction to as a male human and things related to social and cultural anxieties.

At this point in the evolution of this daily process (I'm about at the twelve year mark) most of the images that hold my attention come from a place that is best described as "peripheral". These are things that my deliberate mind is a little too dumb to run into on its linear path, but it can sometimes help out. Often, it's hard to recreate these images because it's like they're in the corner of my eye, and if I look directly at them, they change shape. Sometimes, I watch them roll through my head right before I go to sleep.

Almost all of my images are entirely invented. I only use photographs or other source materials as reference (in most cases), the way a writer would use a dictionary. It's my belief that invented images contain more nuanced information related to development. In addition, there's a pure rush of excitement that comes from making an image that didn't exist in the world before.

Over time, these peripheral images have gotten more complicated. Things like atmosphere, depth, dimension and details in character of people and places have gotten more specific and increased in their range of complexity (some of them are still pretty simple). The result is that I've broadened the spectrum of art that I look at to inform my painting. My painting process owes much to early American artists like Thomas Moran, Frederic Edwin Church and Albert Bierstadt, as well as other "traditional" painters like Frederic Remington, Caspar David Friedrich, Edward Hopper and Andrew Wyeth. I feel a huge respect for their facility with paint, and I respond to their ability to create an environment and convey character.

Of course, the meat of my work is actually very little about standing on these men's shoulders, or even about relating to the art world at all. Far more important to maintaining vitality and "usefulness" to myself, and anyone else who may be interested in the development of someone from this time and place is the part of my process that I call "Field Research". By this I mean just going out and participating in the world the way a guy my age, of my upbringing, who lives where I do, would. This part of my job is pretty hard to do wrong. I just get to do the things that I want to do: hiking, surfing, taking road trips, spending time with friends, etc. The things that set my work apart from someone such as Thomas Moran, other than my interests (some might say quality), are in many cases simply products of my time: I can travel places in shorter time than he could, I have access to technology that allows me to see the world in different ways, maintain dialogs with many people easily and offer insights into things that might never have occurred to me otherwise, I also have an awareness of the changing of the world socially and environmentally – all of this contributes to the sensibility of my work. I understand that the information in my work will be received in varying degrees by different viewers, but I hope that some usefulness can be obtained by anyone."

"I'm done worryin' about shit." will be on view at Peres Projects(2766 S. La Cienega Blvd., Los Angeles, CA 90034) through November 14, 2009. Gallery hours are Tuesday through Saturday, from 11:00 A.M. to 6:00 P.M and by appointment.

Captive Lives Western Spectacle, by Melanie Bonajo, NY

CAPTIVE LIVES WESTERN SPECTACLE
Melanie Bonajo
September 11 - October 31, 2009
Opening reception: Friday, September 11th, 7pm until 10pm

Capricious Space
103 Broadway (btw Bedford and Berry)
www.becapricious.com


In this exhibition, Melanie Bonajo explores the inhuman characteristics of relationships and prejudices among humans and animals. She investigates the affinity and association between the human and animal worlds - the proximity and expanse between their realms, and potential outcomes of a great imbalance of power.

Deeply concerned with their state, Bonajo takes photographs of depressed animals. She explores the notion that the way we confiscate animals from their local landscapes and move them around – treating them solely as inanimate forms, instead of living beings - is an act of violence.

Through these acts, Bonajo believes captured animals become more human than we typically think. That is, these (manmade) violent processes illustrate the oppression that is innate in humans in order to suppress some sort of Other within them. Bonajo holds that we are we living in the twilight of the mammalian era, with zoos as keepers of relics of the past. We may wonder: will this end include the death of humanity or only a small part of it?

In Bonajo’s forecast, animals will start to re-appear in people's lives as ghosts. Their spirits will be revived at night in dreams. Due to an increased sense of loss, people will sanctify animals in the future like that of pre-modern animistic believers. Through technological means of instant and invisible communication through space and time, humans will try to cross ancient animal territories to heal the past.

For this presentation, Bonajo’s images (all produced without digital manipulation), video and installations depict vignettes of human attempts at animal healing and the merging of man and machine. Captive Lives Western Spectacle warns of a future in which mammals no longer exist and have permanently moved their existence into the sphere of archetypes.

image:Horse, 2009, by Melanie Bonajo

Leaves of Ash, Paris

LEAVES OF ASH
Curated by Michael Nevin & Julia Dippelhofer (THE JOURNAL, NY)
withJoe Bradley, Chris Caccamise, Hanna Sandin, Non Trubkovich, Yui Kugimiya, Eddie Martinez

June 25 - July 25 2009

SUZANNE TARASIEVE PARIS
171 Rue du chevaleret F-75013 Paris
Suzanne Tarasieve

Leaves of Ash
Inspired by the poet Walt Whitman, Michael Nevin and Julia Dippelhofer set out to gather the work of artists that are contributors to the journal, and their friends and neighbors in Brooklyn. The fragmented natural world, portrayed by the six artists that make up this show, is both a reflection and a fabrication, a witty questioning of their surroundings as well as an observant documentation of them. From Yui Kugimiya’s painting-based animations of cats brushing their teeth and speaking on cell phones to Kon Trubkovich’s existentialist oversized vanity plates that question the nature of identity to Joe Bradley’s symbolist canvases, there is a sense of joy in their observing, absorbing and transforming of the everyday into something transcendental and profound, something that speaks of what it is to live in a specific place, at a peculiar time.

About the journal
Since it’s inception in the winter of 1999 by Michael Nevin, then a student at Montserrat College of Art, the journal has been a vehicle for Michael’s creative surroundings. Taking form as a diary-influenced quarterly magazine, with a focus on contemporary art, the journal has evolved to collaborate with today’s most important established and emerging artists. Publishing exclusive original projects, artworks made specifically for the pages of the magazine, and artist monographs that accompany each entry, the journal has become internationally recognized for its independent and original voice. Now in its 10th year, the journal has collaborated with gallerists and curators such as Anton Kern, Gavin Brown, Clarissa Dalrymple, and Kathy Grayson, and artists such as Dash Snow, Richard Prince, Juergen Teller, Peter Coffin and Jonathan Meese.

The Journal Gallery, established in 2004 in New York’s East Village, with its current location in Williamsburg, Brooklyn, is the sister project of the journal, bringing content from the publications page’s to the walls and floor of the gallery. Artists David Shrigley, Jack Pierson, Gil Pellaton, Dash Snow, Tim Barber, Agathe Snow, Aurel Schmidt, Ken Kagami, Joe Bradley, Jonathan Meese and Miranda July have exhibited work at The Journal Gallery, while musicians such as Thurston Moore and Mark Borthwick, and bands such as Chairlift, The Sads, and TV Baby have given memorable performances there. Both the journal and The Journal Gallery are a collaborative effort by Michael Nevin and Julia Dippelhofer.

No More Drama, Paris

www.roymichael.com

12 Figures, Paris

My Barbarian / Suspension of Beliefs

My Barbarian
Suspension of Beliefs
May 2 - May 30, 2009
Opening Reception: Saturday, May 2, 6 - 8 pm
With performance by My Barbarian & LA Fog,
Saturday, May 2, 2009 at 8:00 PM

Steve Turner Contemporary presents Suspension of Beliefs, a performance and video installation by the Los Angeles art performance group My Barbarian. The exhibition includes six videos shot during My Barbarian performance/theater workshops held in New York, Rome, Cairo, Vilnius and Los Angeles, as well as a live performance by My Barbarian with the band LA Fog. The performance, titled In Defiance of Gravity, will be presented one night only, on opening night, Saturday, May 2, 2009 at 8:00 PM.

My Barbarian is a Los Angeles-based performance collective founded in 2000 by Malik Gaines, Jade Gordon and Alexandro Segade. The trio creates site-specific performances, musical concerts, theatrical situations and video installations. With humor and wit, My Barbarian conflates fantasy and satire to reinterpret historical and contemporary events. The current exhibition Suspension of Beliefs is the troupe's play on the assumption that theater requires the audience's suspension of disbelief, modeled in part on the experimental theater of the 1960s. Combining disparate elements from the political theater of Augusto Boal's Theater of the Oppressed (Brazil), The Living Theatre (New York), and the critical antiteater (established by Rainer Werner Fassbinder in Munich), My Barbarian created the Post-Living Ante-Action Theater (PoLAAT), a series of performance workshops that began during a residency at the New Museum (New York, 2008). While informed by the sense of urgency embodied by the performance practices of the past, the PoLAAT's inherently ironic approach is critical of both nostalgia and utopianism.

In Suspension of Beliefs, My Barbarian explores cultural difference by showing the ways in which one song, with a simple refrain and haunting melody, changes when performed in different countries. In Rome, the group made a faux Neo-Realist film, with references to Italian film director Pier Paolo Pasolini's Roman poems, in which they sing the song in Italian and act out scenes inspired by the film, 'Mama Roma' (1962). In Cairo, the group quietly performs the song on a felucca on the Nile in order to avoid attracting the attention of the police on a nearby boat. The four videos in the exhibition complicate the viewer's inclination to believe what they see, thereby creating a 'Suspension of beliefs'. Suspending belief is visualized in the project as the literal attempt to levitate a person, as the videos reveal.

My Barbarian has performed widely in the States and abroad. They were included in the 2005 and 2007 Performa Biennials; the 2006 and 2008 California Biennials; the 2007 Montreal Biennial; and the Baltic Triennial 2009 in Vilnius, Lithuania. In 2008, the group performed commissioned works for the New Museum and Galleria Civica, Trento, and also presented a durational performance installation with Steve Turner Contemporary at Art Positions, Art Basel Miami Beach. In 2008, My Barbarian received an Art Matters grant to make a new performance and video project at the Townhouse Gallery, in Cairo. Their exhibition with Steve Turner Contemporary is their first solo commercial gallery exhibition.

Malik Gaines (born 1973, Visalia) received a BA in History from UCLA (1996) and a MFA in Writing from CalArts School of Critical Studies (1999). Jade Gordon (born 1975, Santa Rosa) has a BA in Theater from USC (2008). Alexandro Segade (born 1973, San Diego) received a BA in English from UCLA (1996), studied in the School of Film and Television at USC (1997-1998) and will receive an MFA from UCLA in 2009.


Steve Turner Contemporary
6026 Wilshire Blvd
Los Angeles, CA 90036

Steve Turner Contemporary

My Barbarian music

Tender Love and Care, Sweden

Capricious presents: Tender Love and Care, a group show curated by Sophie Mörner
March 20 to April 4
Vernissage: Friday March 20th 6pm to 9 pm
Artists:Melanie Bonajo, Sam Falls, Kinga Kielczynska och Katherine Wolkoff

"These works invite us to listen to their stillness, arriving at the place you can hear it. These are sanctuaries where bodies have stopped, and felt something. They are fearless places, where the mist, and the darkness dwell. These places are about dreams, the endless presence of continual dreaming. These are fragments of places that so quickly pass us by. In these places are micro-lives; the works admire them, love them for their magical-ness. These places are tender, and suggest togetherness, a connectedness, and something nice. Something soft. Tender Love and Care." - Capricious, March 2009

Galleri Box
Kastellgatan 10
Gothenburg,
Sweden

CABINET DES CURIOSITÉS

Reconstituer l'appartement de Marcel Christin et, partant de là, transformer l'espace Abraham Joly en cabinet de curiosités est une fantaisie. Une improbable fiction qui se réalise et convoque la mémoire, renvoyant à desintérieurs recomposés autant qu'imaginés.

Projection de 3 films de Michael Roy:
Remember Last Summer I, 2001-04 / Courtesy Galerie Alain Gutharc
Remember Last Summer II, 2004-07 / Courtesy Galerie Alain Gutharc
Forest Knoll Drive, 2007 / Courtesy Galerie Alain Gutharc

Espace Abraham Joly, ch. du Petit-Bel-Air 2, 1225 Chêne-Bourg - Suisse

Remember Last Summer
Michael Roy

WE'LL KNOW WHERE WHEN WE GET THERE

WE'LL KNOW WHERE WHEN WE GET THERE : Lee Ranaldo & Leah Singer
co-commissaires: Daniel Kurjakovic, Sylvie Boulanger
Feb 8 to May 9, 2009

PERFORMANCES de 14h à 19h:
Leah Singer & Lee Ranaldo (Sonic Youth), Rik Bas Backer, Rhys Chatham, Brigitte Fontaine & Areski Belkacem, John Giorno, Franck Leibovici, Samon Takahashi

cneai = île des impressionnistes, 78400 chatou, france
CNEAI

Antek Walczak, Mexico City

Artist:ANTEK WALCZAK
Exhibition: g/r/o/w/l/s/_/a/n/d/_s/c/re/am/s, / _sc/ra/wl/s_/an/d_/gr/ap/h/e/m/es/
Gallery: Galería Gaga, Durango 204,Colonia Roma. Mexico City
Thursday November 27th, 2008/ 5 pm


"Some recent solo work from Antek Walczak of Bernadette Corporation.

One of my friends regards me skeptically when I try to stammer out a statement that has something to do with “art as information.” “Ok, so what?” he says, “So and so and so and so and so and so have been dealing with contemporary art in this way for years.” “They have inspired me, in this, my new direction,” I cheerfully add. But my friend won’t let me get away with it. “And over in England, whatshisname stands alone in a crusade against the communications and knowledge management of the art market producer.” “You mean like, ‘how to win a career and influence people?’” I whine, “but I’m more interested in Shannon’s theory of information, cybernetics, compression, patterns and probabilities, sorting through the cultural apparatus, trying to know quickly what I don’t need to know.” “I could care less about all that science-techno fetish stuff,” he says finally, ending the conversation.

Imagine you are at a party and are talking to someone who is kind of hot but really outside of your realm of possibility. You endure unbearable questions. What do you do? Do you make money at that? How old are you? What kind of art do you do make?

I transcribe online news headlines about Somali pirates onto sheets of parchment paper, using a fountain pen and unpracticed calligraphy.

I copy the album cover graphics from a culture industry pop-girl-punk band and modify it in the direction of a word search game.

I redraw the fan art submitted to a Christian metalcore band’s myspace, and by leaving out one letter in my transcription, transform it into an emo eulogy for the financial markets.

I faithfully draw from a photo source a robotic hand holding a pencil.

I stick together pre-printed labels made for high school science projects…

This I read recently and it cracked me up: “In evolution, the environment processes the information presented to it in the form of organisms and produces output – some dead organisms, some live organisms.”

I also came across a press release for a group show that might have been called “Bad to the Bone.” The starting point was hardcore, the musical offshoot of punk, but I found its reasoning all wrong. It spoke of rebellion, “fuck you” art that needs to be nailed to the wall or else the kids will steal it, tattooed boys enthralling blue haired dowagers, in short, it reared the ugly head of the figure of the hipster with all it’s messy post avant-gardisms and bohemiousness.

I, too, am interested in hardcore, but as a historical institution, not as a badge or posture. Like church music in the middle ages, it is a fixed form, and those who choose to practice this form, teenagers mostly, treat it as a calling. It is a decidedly suburban form, and as we all know, hipsters abhor the suburbs while they idolize New York. The notion of whatevercore (a better word to take in all the permutations of hardcore since the 80s) is a structural deployment of information antithetical to the advanced information expertise of the hipster. ‘Advanced’ is meant here like it would in a hospital, i.e., “the illness is in an advanced or terminal stage.”

In the mid-19th century, Lord Kelvin postulated the heat death of the universe, a final or ultimate state of maximum entropy, a system “running out of steam,” based on a universal application of the second law of thermodynamics. Culturally, from Oswald Spengler to Robert Smithson, a lot of mileage has been hammered out of this concept. Something similar can be done with the notion of entropy in information theory, which evaluates the degree of unexpectedness and predictability of information in measurable terms. Rather than existential pessimism or cultural gloominess, this use of the concept of entropy spoils everyone’s expectations of the new, pushes noise and chaos back into the metaphysical; it spoils the surprise party implicit in the production of communication.

Antek Walczak
Mexico City.
November 2008."

House of Gaga

Environs

Exhibition:"Environs"
Artist: Amelia Bauer
Reception:
Friday, September 26th
6 - 9pm

Capricious Space
103 Broadway (btw Bedford and Berry)
Brooklyn, NY 11222

This place is Foreign

This Place is Foreign
Curated by Simon Guzylack
September 28, 2008 – October 5, 2008
Opening: September 27, 17:00, Mad Vicky’s Tea Gallery,3, rue Nicolet,75018 Paris

HANAYO (japan)
LARRYS (canada)
AUDE LEVERE (france)
MATHIEU MALOUF (canada) / HEJI SHIN (south korea)
MAXWELL SIMMER (canada)
BRENT WADDEN (canada)
NINE YAMAMOTO-MASSON (france/japan)
MICHAEL YOUNG (canada)

Mad Vicky’s Tea Gallery is proud to present This Place is Foreign, a group exhibition of artists based in Berlin but born elsewhere. Working with music, video, sculpture, textiles, drawings, photography, and painting, these artists met serendipitously in Berlin and have found ways to use the city as a background for collaboration—artistic and recreational—in studios, galleries, bars, and discotheques. A performance by Hanayo on October 1 at 19:00 accompanies the show.

The condition of international artists in Berlin is more science-fiction than political drama: The works exhibited in the show recall psychedelic, perverse, mysterious, and happy visits to unexplored regions rather than hankerings for national identities or exotic fetishes. Selecting a context for the works of art becomes situational, playful and participatory, perhaps like their creation.

Through the artists’ uses of various media, the show looks at the moment when distinctions collapse between work and play, personal and collective, the familiar and the foreign.

www.madvickysteagallery.com
Hanayo's Gallery
Brent Wadden
Larrys

Mike Kelley closing party

LAST DAYS OF THE MIKE KELLEY RETROSPECTIVE AT WIELS, Avenue Van Volxemlaan 354, 1190 Brussel Bruxelles, www.wiels.org
From Wednesday 23/07 to Sunday 27/07
You haven't seen it yet? You'd like to see it one more time? Don't drag your feet; there's just few days left before the exhibition closes!

Sunday 27/07 17 - 22:00: DJ'n'DRINKS
For the exhibition's closing, a DJ set by Lady Jane and friends!

'And then, what then'

Exhibition:'And then, what then'
Curated by Andrea Longacre-White
Opening at CAPRICIOUS SPACE, 103 Broadway, Brooklyn, NY 11211
Friday July 11, 7-10 pm

Featuring artists:
Alain Levitt
Andrea Longacre-White
Mirabelle Marden
Isabel Asha Penzlien
Jason John Würm

Capricious Inc.