オスカー・トゥアゾン＆ガーダー・アイダ・アイナーソン

OSCAR TUAZON & GARDAR EIDE EINARSSON

SEX BOOZE WEED SPEED

OPENING RECEPTION

FRIDAY 17, 7-9PM

Oscar Tuazon & Gardar Eide Einarsson, Young Patriots, 2009, Silkscreen poster featuring in PARIS, LA #2

SHOW RUNNING FROM 17 DEC 2010 – 20 FEB 2011

12:00 – 20:00 （月曜日、12/28-1/5休）

RAT HOLE GALLERY

〒107-0062　東京都港区南青山5-5-3　B1F
5-5-3-B1 Minami Aoyama Minato-ku

Tokyo 107-0062 JAPAN

PLAYING THIS SATURDAY DECEMBER 11th

AT REENA SPAULINGS FINE ART

165 EAST BROADWAY, NEW YORK 6-8PM

“Timing is important for this event. And a good time. We’ll have fun. More ramblings below image.”

- K8 Hardy

I was taking care of your dog for you and I picked him up for a quick photo while posing naked [nuditude] on a fashion shoot for a new project. Was that a violation? Your silence was disturbing. Seeing me like that is disturbing. So we took a picture. We did it for you to have a fancy funny picture of your dog but that didn’t happen. Did I commit a violation? Mostly we’ve been nothing but subjects and quite self aware of that condition. So it’s fucked up when we become an object, when we work to protect and limit our objectification or context. I mean power and control. When who you are is attacked and abstracted all over the internet so much that who you are gets sliced and diced and back-codes and turned into ringtones for sell made in Xyzjpq from when you were drunk and singing karaoke like a charming asshole. I am always violating myself. Is that performance art?

When you just got back from Europe Somewhere – alienated – and people acted as if they know who you are; or is it actually nice because yes you have done a lot of work and so could it be so rad that our, I mean my, passion is beaming energy so far? That my work is worth this reward? But the question looming in the back of the mind: is my work really worth what and why does it get more attention than an amazing teacher who is bringing drowning kids up to the surface to breathe. Spectacle, right? I also mean I didn’t have a kid when I was seventeen, but what if. I didn’t want too either but what if. Class, Race, Education. There’s so much money involved so what fruits is our fetishization. It’s so gross one easily thinks of freaking out and walking away, but away from this economy of work that comes from your heart (can you say come from your heart anymore?). The economy that less wants to help you continue than to feed off their own narcissism of getting close to you- that freaky cool weird smart lesbian whose looks don’t actually threaten men. I mean she has blonde hair I mean she’s White I mean she’s skinny she doesn’t look like a man I mean she’s not one of those scary dykes… right?

You Us Them. Hey yeah! Let’s do be around each other. Let’s do hang out and talk. Let’s get our bodies close together and get heated. Lez we can. Wait I got distracted.

And so I am making my own tension before anyone else does it. This privilege of looking like THAT, of being able to look like THAT, of being able to ask people to help make you look like that; totally consumable. EASY not difficult.

Is it the person’s own fault if they become a celebrity [sublebrity (e.halter)]? Can we blame that person for having selfish priorities in her life? I’ve been a celebrity since I was 11 years old. Let’s face it some of us just suddenly realize that when we walk into a room we get all the attention. It was never an intention. So what do you do with that? It’s fucking annoying, I mean cool but like annoying too. Like hot or not, you get to decide before you meet them. But we like being hot. We like it. And you like to watch. It’s just that this patriarchal deeply embedded sexist power structure penetrates the conversation when you are looking. And so we are feminists so we fight it. And we feel guilty when we like it. But shame and guilt can be so hot. We went sex positive in the 90s to feel empowered and in control. But then it’s nastier when we keep the shame. It’s weird how many kids let themselves be filmed having sex. That’s a new thing but I’ll put it into the trajectory. Especially because some of what I am saying is that really it’s about being a kid. The patriarchy is for grown ups. And that’s why your family doesn’t take you seriously and treats you like you are immature and that’s why people laugh at the way you dress because you give that all up to “grow up” and stop sagging your pants [read: patriarchal racists]. Wow everything is so mixed up. No it’s not. I’m getting close to a point.

Being a professional has a deep and intense racist history, but it’s also a form of survival. And being an artist can be kinda like a part of leaving that- but then there you are trying to succeed and who is trying to touch your hair but the worst click of the professionals. The cream. It’s fucked up. And so when you are an artist and you go up in production level, so far up like use crazy money to make your art because usually an artist doesn’t have afford as a necessity to make her art. Seriously. It’s a choice. Think about Western civilization you know? The rent is too damn high so you are in a place where it’s not your human right to have a roof over your head oh I mean place to live to all you rich ones reading this. Roof is so abstract! But see this is where it gets warped right because I can’t think that certain types are bad especially when I know so many people who are so rad. You can’t be so judgmental! I’m jumping around. But the “men” are so angry. Why are the men so angry? Don’t let’s not stop talking about this just because the guys admitted a little bit that “women” were not being treated fairly. They honestly feel generous because as they look at it they gave you a little piece of their power out of kindness and understanding. Sexual politics are not over.

I would like to drink tea all day with everyone. On a couch. Let’s sit down and talk. So we have to figure out how to actually survive and it’s real. This is realness. I am authentically real. I do care about my face actually. Am I making the connections too fast? But my ideas are getting bigger. I’m a fucking colonizer. I have most of my health back! Let’s not speak too soon. I don’t think they actually want kids to go to school anymore, which is really the freaky thing. It’s a better way to stay brainwashed. And believe it because they tried to brainwash me- I am speaking from experience. To those of us who think we are enlightened. I mean we really do though, right? Fuck all that religious shit right? And Jesus was a radical, right? Was Mohammed because I don’t know. Point of View. Does your mom bring God up when you are crying on the phone? Or something like that? It feels like conformity. And using commercial apparatus in my work feels like conformity too? But what if I’m using it to call attention to using it? I move around differently in the world than most people; how I enter a room. It becomes an exploration of possibilities. Let’s move into that beloved delusional mode of positive thinking now. I love it! It really does feel good. So what is positive (delusional) about this totally Capitalist and White standard of beauty that infects everything we see and the way we gaze. Reversal? THAT WAY WE GAZE.

- K8 Hardy, 2010

Footnotes: 1.

“An [poor] artist’s responsibility for a very long time is to get collected, socially.” – Eileen Myles, Inferno

2. Petróleo (Oil)

empty stomachs, brains full of air

give me you blood, mutant pig

(chorus) It’s the oil that takes me higher

deforms with no hope

semen in all the bed

look how they scream inside of me, inside of me…

while I open my legs, I hear the sirens

And if I kill my children, it is for optimism

(chorus)-solo-(chorus)

-Femicidio

Till then enjoy a video of Psychic TV performing at Europa club two years ago.

—dp

Khmer Torso, 2010 (detail), cast bronze.

The exhibition will include two series of 18 monochrome paintings based on the various tones of grey and blue found in Alfred Stieglitz’s Equivalents. The Equivalents are a series of photographs of cloud formations taken between 1925 and 1934 that form the cornerstone of Stieglitz’s reflection on the medium of photography and its unique ability to capture abstraction in the natural world. Levine’s monochromatic series extends her career-long inquiry into abstract painting, from the stripe and checkerboard patterns of the 1980s to works after Blinky Palermo, Piet Mondrian, the Russian avant-garde and others. A recent series of monochrome works, titled Salubra (2007), was based on a color chart for wallpapers designed by Le Corbusier in 1931.

This is Levine’s second series of works inspired by Stieglitz’ work. In 2006, she created Equivalents: After Stieglitz 1-18, a suite of 18 photographic prints which break down the gray scale of the original photographs into chessboard-pattern squares of solid hues.

Also on view will be a series of new bronze sculpture, including Khmer Torso, a headless and armless male figure based on a carved stone sculpture of a male divinity from 12th century Cambodia; and Les Deux Chèvre-Pieds, a reference to the Greek god Pan and the goat-satyrs who attend Dionysus.

Sherrie Levine was born in Hazelton, Pennsylvania, grew up in St. Louis and moved to New York in 1975. She has had one-person exhibitions at the Hirshhorn Museum, Washington D.C., 1988; the High Museum of Art, Atlanta, 1988; the San Francisco Museum of Modern Art, San Francisco, 1991; the Philadelphia Museum of Art, Philadelphia, 1992; and Portikus, Frankfurt, 1994, among others. In 2005, she was one of the four artists included in Quartet, the opening exhibition of the new Walker Art Center in Minneapolis. Her work was included in Color Chart: Reinventing Color, 1950 to Today, at the Museum of Modern Art (2008). That same year she was part of the 2008 Whitney Biennial. The Kunstmuseum Krefeld, Germany, is currently presenting a one-person exhibition of Levine’s sculpture, Pairs and Posses (through February 6, 2011). The Whitney Museum is preparing the first full-scale retrospective of Levine’s work, scheduled for Fall 2011.

“I’ve always wanted to do tall paintings and sculptures. I suspect it’s because I am quite tall. I’ve had little opportunity since most galleries have wall heights that mirror the wall heights of collector’s homes.

A few years ago, I was invited to show in Haus Der Kunst, Munich. Since the entrance hall is extremely tall, I began thinking about tall work I could do there to capture the space.

One of my ideas was the idea that I have proposed to the Prada Foundation.

My plan is to elongate standing Giacometti sculptures and clothe them with garments.

To extend an extreme existing idea to its logical conclusion has been a working method for me. Giacometti figures are the most skinny and emaciated sculpture that exist. Why not push that further? Also there currently is a blurring of art and fashion. Furthermore it is au courant, almost de rigueur that fashion models be extremely tall and thin. Why not fuse the two—art and fashion—since that idea is in our zeitgeist? I’m sure I was also inspired by the Degas Ballerina sculptures clothed with real tutus. The finished work would be the row of columns (at the foundation building) alternating with clothed attenuated pseudo Giacometti figures.

Is this parody? I’m not sure. I hate categories and definitions—I certainly am borrowing. Isn’t this what artists do? Doesn’t art arise from art? What I am doing is furthering an idea—that is the requirement of any good art.”

John Baldessari, December 2009

The California artist has conceived an entirely original project for the Prada Foundation, titled The Giacometti Variations. It consists of a series of huge figures 15 feet tall, inspired by the imagination of the Swiss sculptor, which will be clothed and outfitted with garments and objects designed by Baldessari himself, thus forming a hypothetical, though immobile, fashion show. It captures an idea of integration and dialogue between art and fashion, where the osmosis between model and sculpted figure becomes a declaration of mutual attraction and communication.

JOHN BALDESSARI

THE GIACOMETTI VARIATIONS

AT FONDAZIONE PRADA

EXHIBITION RUNNING FROM OCT 29 TO DEC 31

Portrait of AA Bronson by Ari Marcopoulos

Philip Aarons, Chair of the Printed Matter Board, said: “AA Bronson has accomplished a remarkable transformation of our institution over the last six years by bringing a clear, new relevance to young artists while consistently celebrating what was best in our past. The move to a cool, highly visible Chelsea storefront, the revival of our publishing program, the excellence of our exhibitions and perhaps most significantly, his tireless work in the creation and expansion of The NY Art Book Fair have made Printed Matter matter again.”

Formerly Treasurer of the Board, Mr Bronson left the Board in 2004 and joined the staff on a temporary basis to resolve the financial and administrative problems that had been plaguing the organization. A position that was originally intended to last six months grew to six years, a period during which Mr Bronson redesigned the financial and administrative structure of the organization while expanding its program. He continues as an advisor to Printed Matter, and looks forward to returning to the Printed Matter Board after a hiatus of some months. Printed Matter is one of New York City’s oldest and most venerable artist-run non-profits, founded by a group of artists and art workers in 1976.

Mr Bronson is departing to spend time on personal projects, especially Haute Culture, the retrospective of General Idea that opens at the Musée d’art moderne de la ville de Paris in February, 2011. He is studying for His Master of Divinity at Union Theological Seminary, and will continue in his position of Artistic Director of the Institute for Art, Religion, and Social Justice, which he founded at Union in 2008. Finally, he intends to devote more time to his practice as an artist and healer. Septembre Editions (Paris) will launch his new publication AA Bronson’s GayHouse later this month. And Creative Time will launch his book Queer Spirits, a collaboration with Peter Hobbs, early in the new year.

AA Bronson will remain at Printed Matter until after this year’s NY Art Book Fair, the non-profit fair that he founded as a Printed Matter project in 2006. This year’s Fair features 285 exhibitors from 24 countries, and will be presented at MoMA PS1 from November 5 to 7, with a preview on November 4. www.nyartbookfair.com

Printed Matter’s Board of Directors announced that Catherine Krudy, currently Printed Matter’s Director, will become Acting Executive Director. Ms Krudy has worked under AA Bronson’s direction at Printed Matter since 2006. She has contributed to every aspect of the organization, and has been essential to the reinvention of Printed Matter and to the growth and development of the NY Art Book Fair. She has been planning with AA Bronson over the past year to effect this transition.

AA Bronson said: “Catherine Krudy brings a boundless energy and optimism to Printed Matter. On the eve of Printed Matter’s 35th anniversary, it is time to pass the organization along to a younger generation. Catherine Krudy is the ideal candidate to lead us into the future.”

Printed Matter Inc. is an independent 501(c)(3) non-profit organization founded in 1976 by artists and art workers with the mission to foster the appreciation, dissemination, and understanding of artists” books and other artists” publications.

Printed Matter, Inc. has received support, in part, through grants from the New York State Council on the Arts, the New York City, Department of Cultural Affairs, the Milton & Sally Avery Arts Foundation, The Cowles Charitable Trust, The Horace W. Goldsmith Foundation, the Schoenstadt Family Foundation, the Andy Warhol Foundation for the Visual Arts, the Trust for Mutual Understanding, the Gesso Foundation, the Foundation for Contemporary, Arts, the Morris B. and Edith S. Cartin Family Foundation Inc., the Mondriaan Foundation, and individuals worldwide.

ECSTATIC PEACE MOVING PICTURE SENSATION

BY THURSTON MOORE

LIVE SCREENING THURSDAY SEPT. 16TH

10PM

REENA SPAULINGS FINE ART

165 EAST BROADWAY \ ENTER ON RUTGERS ST

NEW YORK, NY 10002

REENASPAULINGS.COM

Opening Reception: Thursday, September 16, 6-8PM

September 16 – October 30, 2010

At first glance, Rødland’s photographs seem overtly simple: an aquarium, a shed, a cassette tape. However, rather than empty vessels, Rødland stages his images as reenacted sites, as venues where an image that may initially seem familiar is informed and complicated by what the artist calls a “mythological richness,” almost becoming abstractions.

While Rødland’s images tempt readings filtered by geography or subculture, they simultaneously suggest nuanced detours. In Black Tape, Rødland deals with Black Metal (a sub-genre of heavy metal) at an elemental level. He photographs a cassette tape, a blunt object of related ephemera countering the overtly visual nature of Black Metal and photography itself. The camera – like a tape – can record whatever, as well as meaning.

The alluring nature of heavy metal imagery invites generic classification, but Rødland’s practice is less about participating in the edification of photographic classifications and instead pointing to instances where graphic tropes become destabilized from their expected visual modes. While Norse mythology locates the beginning of life in fire (and ice), Rødland locates the end of life and the body in flames, in the crematoria furnaces of the intensely rich and vibrant Burning Skull, a series of color photographs hung in the back gallery. As the body – a most familiar object – is cremated, the skeletal remains are abstracted, suggesting an enchanting though haunting reflection where something can be at once foreign and familiar.

A Black Ant Traveling invites discussion of classic categories of the portrait, still life and landscape while italicizing the notion of these as specific formal conventions with generic elements that when underscored can provide other temptations.

Torbjørn Rødland is the author of several books of photography, including: White Plant, Black Heart (2006) and I Want to Live Innocent (2008). He is the subject of numerous international solo exhibitions at venues including the Astrup Fearnley Museum of Modern Art (Norway), Air de Paris (France), Hiroshima City Museum of Contemporary Art (Japan), Nils Stærk (Denmark), Standard Oslo (Norway) and P.S.1 (New York). He lives and works in Los Angeles and Oslo and will be guest lecturing at CalArts on October 30th.

Excerpt from the press release.

Photo courtesy National Nuclear Security Administration / Nevada Site Office

PARC SAINT LÉGER – CENTRE D’ART CONTEMPORAIN presents

AMERICA DESERTA
JUNE 27 – SEPTEMBER 5 2010

A group show curated by Etienne Bernard & Sandra Patron featuring the works of :

Robert Adams, Wilfrid Almendra, Lewis Baltz, Hilla & Bernd Becher, Bernd Behr, Julien Berthier, Alain Bublex, Tacita Dean, Julien Discrit, Aurélien Froment, Dominique Gonzalez-Foerster, Peter Goin, Geert Goiris, Siobhán Hapaska, Anne-Marie Jugnet et Alain Clairet, Vincent Lamouroux, Richard Misrach, Melik Ohanian, John Pfahl, Evariste Richer, Katrin Sigurdardottir, Ettore Sottsass, and Andrea Zittel.

The first Art Los Angeles Contemporary, January 28-31, promises to be a highly exclusive and tightly focused selection of top blue chip and emerging art galleries from Los Angeles and around the world. The 2010 selection committee members for the premiere edition of Art Los Angeles Contemporary will choose up to 50 galleries to present exhibitions at the international contemporary art fair.  The 2010 selection committee members include 1301PE, Los Angeles; David Kordansky Gallery, Los Angeles; Peres Projects, Los Angeles / Berlin; Susanne Vielmetter, Los Angeles / Berlin.  

The galleries chosen for this years’ fair, to date, will feature a wide array of emerging and established artists and will spotlight the curatorial skill of each gallery.  Below are the galleries that have been selected: 1301PE, Los Angeles; Angles Gallery, Los Angeles; Artbook, New York; Blum &; Poe, Los Angeles; The Breeder, Athens; Kathryn Brennan Gallery, Los Angeles; Gavin Brown’s enterprise, New York; Shane Campbell Gallery, Chicago; Charest-Weinberg Gallery, Miami; Charro Negro Galeria, Guadalajara; China Art Objects Galleries, Los Angeles; The Company, Los Angeles; Lisa Cooley, New York; Crisp, London; Crystal; Contemporary Art, Stockholm; Dogenhaus Galerie, Leipzig; Eighth Veil, Los Angeles; Marc Foxx, Los Angeles; Honor Fraser, Los Angeles; François Ghebaly Gallery, Los Angeles; Anthony Greaney, Boston; Jack Hanley Gallery, San Francisco / New York; I-20, New York; Galerie Michael Janssen, Berlin; Kalfayan Galleries, Athens/Thessaloniki; Galerie Ben Kaufmann, Berlin; Klosterfelde, Berlin; David Kordansky Gallery, Los Angeles; LACE (Los Angeles Contemporary Exhibitions), Los Angeles; LA><ART, Los Angeles; Kim Light / LightBox, Los Angeles; Los Angeles Nomadic Division (LAND), Los Angeles; Karyn Lovegrove Gallery, Los Angeles; Gallery Luisotti, Santa Monica; Museum 52, New York/London; Nice & Fit, Berlin; Ooga Booga, Los Angeles; On Stellar Rays, New York; Otero Plassart, Los Angeles; Patrick Painter Inc., Santa Monica; Franklin Parrasch Gallery, New York; Peres Projects, Berlin/Los Angeles; Redling Fine Art, Los Angeles; Regen Projects, Los Angeles; Rental, New York; Marc Selwyn Fine Art, Los Angeles; Fredric Snitzer Gallery, Miami; Thomas Solomon Gallery, Los Angeles; SolwayJones, Los Angeles; Standard (Oslo), Oslo; Starkwhite, Auckland; Steve Turner Contemporary, Los Angeles; Susanne Vielmetter Los Angeles Projects, Los Angeles; Jonathan Viner Gallery, London; Kate Werble Gallery, New York; Tracy Williams, Ltd., New York.

Further highlights include talks and book signings by D.A.P. / Distributed Art Publishers, New York.  An independent publishers section will be organized by Wendy Yao of Ooga Booga, Los Angeles.  LA-based non-profit organizations LA><ART, Los Angeles and Los Angeles Nomadic Division (LAND) will organize special on-site programming.

Art Los Angeles Contemporary is aligned with the citywide Los Angeles Arts Month, a collaboration between dozens of local arts organizations, arts and civic leaders, artists, philanthropists, and committed public and private partners. LA Arts Month aims to connect Los Angeles’ diverse communities to the arts, while showcasing its vibrancy to both national and international visitors.  

Tim Fleming is founder of Fair Grounds Associates (FGA), an organization that runs and owns the new Art Los Angeles Contemporary. For over a decade, Fleming has produced some of the country’s most noted contemporary art shows.  Under his direction, ART LA (2006 – 2009) gained notoriety on the international art fair circuit as having a strong community background that championed the bustling Los Angeles contemporary art scene.  In addition to ART LA, Fleming also served as director of photo MIAMI (2006 – 2008). Shortly after graduating from the School of the Art Institute of Chicago, Fleming began his career as a cultural events and art show developer. He served as the director of non-commercial project gallery Seven Three Split, and later while working with Art Chicago, served on the team that developed The Stray Show, an acclaimed ancillary art fair for alternative gallery space.