Simon Denny at the Aspen Art Museum
10 May 2012

www.aspenartmuseum.org/simon_denny.html

May 18 - July 15, 2012

Employing a hybrid methodology located somewhere between research project, retail display, and promotional campaign, Simon Denny's diverse artistic practice reflects on the production, distribution, and consumption of media in an age of accelerated technological obsolescence and relentless cultural overproduction. Through a variety of media, including photographs, sculpture, video, and printed ephemera, Denny invites us to reflect on the relationship between form and content in relation to the evolution of television and video as both technology and cultural form.

Denny's recent works have included investigations into the form and "architecture" of the TV set itself (the physical depth of which, we are reminded, has shrunk along with the medium's loss of dominance as a content provider), the genre conventions of documentary, and the myriad processes by which content is translated from one medium to another. Other works explore the aesthetics of the glitch, moments of interference where the smooth flow of content breaks down, while still others mine the seemingly banal world of trade shows and industry publications.

Simon Denny (born 1982 in Auckland, New Zealand) graduated from the Staatliche Hochschule für Bildende Künste (Städelschule) in Frankfurt am Main, Germany. Recent solo exhibitions include Cruise Line, NAK Neuer Aachener Kunstverein, Aachen, Germany; 7 Unreachable Elevators, IMO, Copenhagen; Chronic Expectation: CFS/ME Documentary Restoration, T293, Rome; Corporate Video Decisions, Michael Lett, Auckland, and Friedrich Petzel Gallery, New York (2011); Negative Headroom: The Broadcast Signal Intrusion Incident, Halle für Kunst, Lüneburg, Germany; and Contemporary Art Museum, St. Louis (2010). Recent group exhibitions include That's the way we do it: The Techniques and Aesthetic of Appropriation from Ei Arakawa to Andy Warhol, Kunsthaus Bregenz, Austria; and Based in Berlin, KW Center for Contemporary Art, Berlin (2011).




MOVING FORWARD TO THE END et al. / QUINTO SESTO / THE INSTITUTE OF SOCIAL HYPOCRISY
9 May 2012

MOVING FORWARD TO THE END
et al. / QUINTO SESTO / THE INSTITUTE OF SOCIAL HYPOCRISY

55 Sydenham Rd Marrickville NSW 2204 AU

25/5 – 10/6/12
Opening Friday 25TH May – 6pm till late

www.55sydenhamrd.com/


There’s no longer any trepidation in having a crackpot fatalistic worldview. The 21st century marks the acceleration of an unprecedented systemic meltdown. Moving forward we are, but there’s no afterlife in the ether, the promised land is here and it’s floundering. To deflect the real, we coil ourselves up in complex forms of fetishistic disavowals; pursuing all manner of distraction in the face of an epidemic implosion.

Our grandest collective fetish resides in our institutions, where we endlessly expend our energy to reform, reconfigure and convolute their governance upon us. We seek solace in dressing up their edifices, both architectural and ideological, seduced into their diabolically ornate systems. They are prisms of our ideal human imago, adorned and worshipped for their immortal promise. With good faith in human progress, we soldier on in the abstraction of human life. Equipped with hi-end bureaucratic artillery, institutions are our death drive made legal.

In the visual arts, the field is similarly unwell. For a while it seemed the emergence of ‘institutional critique’ would heal the [art] world with regulated doses of self-reflexivity. This oxymoronic revolt may still throw all manner of spanners into the works, but to no avail. There’s just no helping it. The institution is too far gone.

Moving Forward to the End is an exhibition showcasing the logical progression of institutional critique – enter the ‘institutionally dismal’. The artists/collectives in this show embody and assume the redundancy of our pathological enterprises. Unlike their not too distant relatives, they are not out to fix things. In them we see no exit, they are the failed human project; the institutionalized, the hypocritical and the enemy of the state.

Curated by Iakovos Amperidis



Imogen Taylor
3 May 2012

Ferari presents:
'Walk of Shame'
Ahilapalapa Rands
Imogen Taylor

12th May - 1st June
Preview: Friday 11th May 6pm onwards

Ferari Gallery
Corner of Ariki Street and Crummer Road, Grey Lynn.
Gallery hours: Sat/Sun 10-5
Weekdays by appointment
ferarispace@gmail.com



Simon Denny and Sriwhana Spong, 2012 Walters Prize nominees
26 April 2012

Simon Denny

Walters Prize nominee 2012

ICA, London: 3 April - 10 June 2012

Aspen Art Museum: 18 May - 15 July 2012

Art Statements: Art 43 Basel: 14 - 17 June 2012

--

Sriwhana Spong

Walters Prize nominee 2012

Auckland Art Gallery Toi o Tamaki Sculpture Terrace: 14 April - 21 October 2012

Neur Kunstverein, Vienna: 20 April - 11 May 2012

Biennale of Sydney: 27 June - 16 September 2012





Publication launch, Simon Denny / Joanna Fadyl
19 April 2012

Please join us for the launch of a new collaborative publication by Simon Denny and Joanna Fadyl, titled Envisaging Vocational Rehabilitation:


Friday 27 April 6.00 - 7.30pm
ST PAUL St Gallery
AUT University
40 St. Paul Street, Auckland City


Vocational rehabilitation is a term that refers to a process of compelling and enabling people to overcome disability so they can work. This social practice is the starting point for a collaboration between artist Simon Denny and Joanna Fadyl, a PHD candidate at AUT, Auckland whose thesis focuses on this topic. For the joint project Envisaging Vocational Rehabilitation, Denny revisits his artistic interest in topics such as leisure culture, the entertainment industry (video, television) and the aesthetics of an information economy by working with information design. The project consists of a collaborative reorganisation of visual and textual material from Fadyl’s analysis of the definition and role of reintegration into employment and society. Exemplary documents originating from New Zealand’s social history have been compiled and processed by Denny and designer David Bennewith to form a central brochure from where the diverse parts of the project are accessed.

A project by Simon Denny and Joanna Fadyl
Design: David Benewith
Computer Application: in collaboration Pippin Barr
Twitter feed: Rafaël Rozendaal
Video: in collaboration with Timur Si-Qin

View the video here:
www.youtube.com/watch?v=BG7HXOhQeQQ&feature=autoplay&list=PL404CC7D54FF3705B&lf=results_main&playnext=2

Produced with the support of Creative New Zealand.

Copies of Envisaging Vocational Rehabilitation will be available for purchase at a special launch price.




Sriwhana Spong in Vienna
19 April 2012

Sriwhana Spong

Neuer Kunstverein Wien

Opening: 19 April 7pm

Exhibition: 20 April – 11 May 2012

Bauernmarkt 9 / Stg. 3. / IX
1010 Wien

www.neuer-kunstverein-wien.at

Wednesday – Friday 4 – 7pm and by appointment



Michael Lett at The New Fair
17 April 2012

Michael Lett is pleased to be participating in The New Fair

2-5 August, 2012
Melbourne, Australia

Exhibitors
Foxy Production, New York
Robert Heald Gallery, Wellington
Hopkinson Cundy, Auckland
Kalimanrawlins, Melbourne
Michael Lett, Auckland
Perimeter Books, Melbourne

Venue
9 Ellis Street
South Yarra 3141
Melbourne, Australia

Opening hours
Thursday 2 August, 7pm – 10pm (Preview by invitation only)
Friday 3 August, 12pm – 7pm
Saturday 4 August, 12pm – 7pm
Sunday 5 August, 12pm – 5pm


Admission free


How to get there
Trains:
Catch the Sandringham or Frankston Line from Flinders Street Station. 10 minute train ride, disembark at South Yarra Station, then a ten-minute walk to the Fair venue.

Trams:
Catch the no.72 or no.8 trams from Swanston Street in the CBD. 15 minute tram ride, disembark at Chapel Street, then a five-minute walk to the Fair venue.

Taxi:
10 minutes from the CBD.
15 minutes from the Royal Exhibition Building, Carlton Gardens.

Car:
Plenty of on-street parking.
Paid parking in nearby streets.

www.thenewfair.com/index.html



Sriwhana Spong at the Auckland Art Gallery Sculpture Terrace
7 April 2012

Sriwhana Spong: Actions and Remains

14 April - 21 October 2012
Sculpture Terrace
Level 2
Auckland Art Gallery Toi o Tamaki

Commissioned for 'Made Active: The Chartwell Show'

www.aucklandartgallery.com/whats-on/events/2012/april/sriwhana-spong-actions-and-remains



Jim Allen, Simon Denny and Campbell Patterson in Made Active: The Chartwell Show
7 April 2012

Jim Allen, Stephen Birch, Simon Denny, The Estate of L. Budd and Campbell Patterson in Made Active: The Chartwell Show

14 April - 15 July 2012
Level 2
Auckland Art Gallery Toi o Tamaki

www.aucklandartgallery.com/whats-on/events/2012/april/made-active-the-chartwell-show



Imogen Taylor
28 March 2012

MAN HANDS
28.03.2012 – 14.04.2012
Clara Chon | Imogen Taylor | Ben Tankard

tcbartinc.org.au/man-hands/

An episode of Seinfeld, the TV “[show] about nothing” (1) chronicles the reactions of its namesake protagonist as he takes notice of his new love interest Jillian’s inexplicably large ’man hands’. Eventually Jillian’s crudely coarse hands and its stark incongruity with her attractiveness devastates Jerry to such an extent, that he puts an end to the relationship. The joke here is not on Jillian, but on the abjection Jerry associates with the bleak discrepancy that he involuntarily let himself be subjected to. As Strephon, upon surveying his lover’s vacant dressing room has so eloquently put it: Oh Celia, Celia, Celia shits! (2).

Such bizzaro experiences of the body bears strange verisimilitude to the dissonant pathos one feels in the anomaly of the everyday (3). Within the habituated tundra that is the ‘familiar’, The unexpected- whatever its subtlety, becomes an ontological shock by its own virtue. Perhaps it is within this reflective process of tension in which the divisive lines between humour and horror blur, that one is able to bring into question the status quo of the ‘familiar’ and combat the reductive tendencies of seeing things the way they are. Like when you laugh so hard that your stomach starts to hurt, or that damned T9 function on your phone takes on a life of its own by spelling out its own subliminal messages.

For ‘Man Hands’, three New Zealand based artists Ben Tankard, Imogen Taylor and Clara Chon will be offering their responses to the idea of seeing the familiar defamiliarized and vice versa, revolving around variety of mediums of painting, printed image, textiles, sculpture and installation.

(1) Miller, Patrick D. Editorial:Good-Bye Seinfeld. Theology of Today (July, 1998)

(2) Swift, Jonathan. The Lady’s Dressing Room (1730)

(3) Critchley, Simon. On Humor. Routledge (2002). page 42-3.



Steve Carr at Britomart Project Space
27 March 2012

Steve Carr's work 'First Light' which consists of three glass sculptures is currently being exhibited at Britomart Project Space:

“I like the idea that the same people are going to walk past the site a lot and notice another aspect of the work each time”, says Carr. An area in the middle of the space is purposely left empty, with the sculptures positioned so that the sculptures are only fleetingly glimpsed depending on the direction of the passerby.

'First Light' by Steve Carr
Britomart Project Space
Stanbeth House
26-28 Customs Street East
Britomart, Auckland

www.britomart.org/whats-on/steve-carrs-work-first-light-britomart-project-space



Simon Denny at the Institute of Contemporary Arts (ICA)
21 March 2012

Remote Control
3 April–10 June 2012

Institute of Contemporary Arts (ICA)
The Mall, London, SW1Y 5AH, England

+44 20 7930 3647

www.ica.org.uk


Peter d'Agostino, ANT FARM, Kevin Atherton, Tauba Auerbach, Auto Italia, Judith Barry, Dara Birnbaum & Dan Graham, Lyn Blumenthal & Carole Ann Klonarides, Joan Braderman , Simon Denny, Jessica Diamond, Matias Faldbakken, Harun Farocki & Andrei Ujica, David Hall, Richard Hamilton, Lynn Hershman, KRIWET, Mark Leckey, Hilary Lloyd, Stuart Marshall, Marcel Odenbach, Friederike Pezold, Adrian Piper, Michelangelo Pistoletto, Radical Software, Martha Rosler, Ira Schneider, Gerry Schum, Richard Serra, Taryn Simon, Hito Steyerl, TVTV, Julia Wachtel and Antek Walczak

Remote Control includes a range of work by artists who explore the way television shapes contemporary culture, and also highlights a number of contemporaries who are responding to the mediums digital convergence. Coinciding with the digital switchover in the UK, the exhibition marks the end of analogue broadcasting—a milestone in the evolution of television.

The exhibition includes significant works that examine how television has changed the way artists engage with material and form, and how adopting techniques of television broadcasting has contributed to the deconstruction of traditional definitions of art. Exploring the role of television in the public sphere, many of the works presented in the exhibition challenge themes of gender, race, propaganda, identity, pop imagery and consumerism.



Chris Lipomi in Los Angeles
13 March 2012

M. NIGHT GALLERY

JUSTIN HANSCH
NANCY DE HOLL
CHRIS LIPOMI
BRANDON LATTU
ERIKA VOGT

"She's invisible, that's what's the matter with her.
 
If he gets the rest of them clothes off, we'll never catch her in a thousand years."


 
x x x x x x x x x x


 
13 - 29 March 2012
 
 
Opens Tuesday 13th March at 10pm
 

NIGHT GALLERY
204 S Ave. 19, Los Angeles 90031
www.nightgallery.ca




Shane Cotton at the "Other Worlds" Symposium
6 March 2012

Other Worlds Symposium - Auckland Art Gallery
Saturday 17 March, 9.45am - 1pm

www.aucklandartgallery.com/whats-on/events/2012/march/other-worlds-symposium



Steve Carr in Sweden
6 March 2012

Steve Carr's film 'Burn Out' (2009) is to be included in the inaugural Angelholm International Video Art Festival in Sweden as part of the New Zealand/Australia programme.

The first AIVA 2012, Angelholm International Video Art Festival will take place in April 2012 and the main purpose of the festival is the free presentation, promotion and development of international video art and to create a new, alternative, peripheral meeting point for emerging and established video and media artists from all over the world. The festival will run for three days, from April 26th – 28th.

Ängelholm is a locality and the seat of Ängelholm Municipality in Skåne County, Sweden with 38.000 inhabitants. The region Skåne (Scania) is a landscape of contrasts, which offers great diversity within easy traveling distance. The countryside is varied – from the wide-open plains, rolling fields of rapeseed, and 400 km of coast lined with white sandy beaches, to the deep forests of the north east and the steep cliff faces of the north west.

aivafestival.com/



Sriwhana Spong - Biennale of Sydney
2 March 2012

Michael Lett is pleased to announce Sriwhana Spong's participation in the 18th Biennale of Sydney.

27th of June - 16th of September 2012

www.bos18.com

www.bos18.com/artist?id=105



Gretchen Albrecht in Paper-jams: artists between the covers
1 March 2012

Paper-jams: artists between the covers

9 March - 28 April 2012
Preview: Friday 9 March, 5.30pm

THE GUS FISHER GALLERY
The Kenneth Myers Centre 74 Shortland Street Auckland,
New Zealand
+649 923 6646

Tuesday - Friday 10am - 5pm
Saturday 12pm - 4pm

www.gusfishergallery.auckland.ac.nz

Acknowledging the substantial history of text in art, Paper-jams looks sideways from that legacy to foreground those artists who address the page as a physical and political context rather than focusing on the content of the words contained within. For them, paper is a surface to excavate, to break through the conventional ways we absorb and present information. Similarly, books become objects with their own history of exchange, value and meaning. These works challenge the materiality of the page and the creative potential of its limitations. In an age of online information and electronic tablets, the threatened extinction of the conventional book brings renewed poignancy to the physical structures and systems that have supported publishing since the invention of the codex and the printing press. Artists include Gretchen Albrecht, Billy Apple, Elliot Collins, Fiona Connor, Paul Cullen, Marco Fusinato, Tessa Laird, Peter Madden, Allan McDonald, Patrick Pound, Ed Ruscha and Ivan Zagni. Curated by Andrew Clifford.



et al. in Melbourne
29 February 2012

et al.
social solidarity #4: non-existent in the everyday world?

Opening Saturday 10 March 4-6pm

10-31 March 2012
KALIMANRAWLINS
9 Ellis Street
South Yarra, Victoria 3141
Melbourne
Australia

kalimanrawlins.com/

‘The world, loosened from its other concerns is saturated with thought so airless and circular, so singular in its intent and purpose, that the outside is no longer visible. Political thinking carries menacing tautologies. The blindly ‘political’ political has a limitless capacity for self-referentiality, emptying the world of its joyful distractions. Even the pedestrian wanderings of the everyday, with their blissful forgetfulness, get absorbed, eradicated. It comes with uncompromising abruptness so that nothing, not even the quotidian in its smallness and humility can find space to breathe here. Everything, it is said, is political. Even aporia, those ostensibly neutral spaces, full of potential with their dead ends, complications and doubts, can be so suffused with the political that they lose their anonymity: spaces of possibility ground into a bland and mucky paste. Thinking is incapable of shifting conflicting ideologies, instrumentality too comes to nothing, so that we find restless civilisations built on the anxiety of irresolvable conflicts and oppositional ideologies, divisions undissolved, even while being formed on an impossible desire for praxis’.

Jan Bryant, (2009) ‘et al. that's obvious! that's right! that's true!’, Christchurch Art Gallery, Te Puna o Waiwhetu.




Sriwhana Spong, The Purple Blotter
22 February 2012

Sriwhana Spong
The Purple Blotter
1-31 March 2012
Preview Wednesday 29 February 6-8pm

Michael Lett is pleased to present The Purple Blotter, an exhibition of new work by Sriwhana Spong. The exhibition is a ‘choreography’ of film, sculpture and collage that explores notions of public and private, the intuitive and the cerebral, and the body that is the borderland in movement between these different states.

The purple blotter referred to in Spong’s title is that of pivotal consequence in Colette’s 1934 novella Duo, in which the simple observation of a patch of light reflected on a cheek by a purple leather blotter becomes the catalyst for a crisis that changes the lives of both her characters.

Duo is a portrait not just of two people, but of two figures inseparable from the space they inhabit – the shifting light and the objects that surround them: orchids in a vase, a blanket with cigarette burns, and love letters hidden inside a purple blotter. This is a story of fleeting moments as inspiration for change, and the inseverable relationship between bodies and their environments. Mostly however, it is about two people watching something disappear.

Spong’s major new film titled Beach Study is her first made using 16mm. In addition to the idiosyncrasies of the film stock, the use of coloured filters bring intense flashes of magenta, violet and amber that flicker and morph with the landscape they celebrate. A body responds in the form of dance, with gestures both classical and familiar, intentionally designed to escape any particular philosophy of movement.

In this work Spong makes a personal observation of disappearance – that of a once loved childhood beach to which access is now made difficult by private land ownership. Fleeting moments and corporeal recollections here form an exploration of the precarious relationship between memory and experience.

In a series of sculptures and collages Spong explores her ongoing interest in Balinese offerings, an interest spurred by the physicality of such objects - their amorphous formal quality, fragility, and use of everyday objects. In these works Spong employs a diversity of materials such as magazines, recycled packaging, silver, and thread dyed in wine.

Sriwhana Spong was born in 1979 in Auckland, New Zealand. Recent exhibitions include Raiding the Archives, Bangkok Experimental Film Festival, Thai Film Archive, Bangkok, 2012; Collecting Contemporary, Museum of New Zealand Te Papa Tongarewa, Wellington, 2011; Fanta Silver and Song, Gertrude Contemporary, Melbourne, 2011; Scene Shifts, Bonniers Konsthall, Stockholm, 2010; Lethe-wards, Art Statements, Basel, 2010.

Forthcoming exhibitions include Actions and Remains, the second Auckland Art Gallery sculpture terrace commission, opening April 2012.


Image: Sriwhana Spong, Beach Study, 2012, 16mm transferred to HD video, 7 min 30 sec
camera Louise Menzies



Jacqueline Fraser
17 February 2012

‘The Making of the Pope of Greenwich Village 2012’, by New York-based New Zealand artist Jacqueline Fraser, is the latest work to be projected onto the side of Stanbeth House.

The DVD consists of rapidly changing stills of collages, based on the artist’s re-imagining of classic 1980s film ‘The Pope of Greenwich Village’ starring Mickey Rourke, Eric Roberts and Daryl Hannah.
Jacqueline, who divides her time between Auckland and New York, says she conceived the stills as fictional publicity shots for a remake of the movie. She was interested in capturing “the gritty downtown feeling” of her adopted hometown.

“I live in NYC periodically, so I wanted the mood of downtown NYC as well as the reference to the original film. Dark wood grain, marble in Little Italy, iconic buildings in The Bowery etc. I wanted a fast pace like an action film, but using alternating images in a horizontal format.”
The Dunedin-born artist has exhibited extensively over the last three decades in the US, Europe and Australasia. Her work was part of the first New Zealand exhibition at the Venice Biennale in 2001 and has been shortlisted for both New Zealand’s Walters Prize and the UK’s Artes Mundi.

‘The Making of the Pope of Greenwich Village 2012’ is part of ongoing digital art project Britomart Live, where artists and film makers are invited to submit content for projection.

The four and a half minute silent film is played in a loop from 9pm every evening and will be showing until Wednesday 22 February.

‘The Making of the Pope of Greenwich Village 2012’
DVD and collages
Stanbeth House (above The Britomart Country Club)
From 9pm every night until 22 February 2012

britomart.org/whats-on/making-pope-greenwich-village-now-showing-britomart-live



Hany Armanious + Simon Denny
16 February 2012

Chinatown: the sequel
Hany Armanious, Damiano Bertoli, Fiona Connor and Tahi Moore, Simon Denny, James Deutsher, Marco Fusinato, Matt Hinkley, Leah Jackson, Helen Johnson, Raimundas Malasauskas, Joshua Petherick, Frances Scholz and Mark von Schlegell

Curated by Liv Barrett

10 February 2012 - 31 March, 2012
Opening reception: Friday, 10 February 2012, 7-9pm
Body Sharp, Saturday, 11 February, 10p - late
Body Sharp party location Level 2, 3716 Eagle Rock Blvd

ltdlosangeles.com/current_exhibition.html



Shane Cotton
8 February 2012

Gow Langford Gallery, Kitchener St
22 February - 17 March 2012

Gow Langsford Gallery presents a thematic Shane Cotton exhibition, focussing on works from mid 1990.



Simon Denny
31 January 2012

ENVISAGING VOCATIONAL REHABILITATION
Simon Denny / Joanna Fadyl
 
Thursday, 16 Februar 2012, 19 pm
Project launch
Café Uferlos, Bismarkallee 11, 48151 Münster
 
16 Februar – 15 April 2012
The project will be on view at Buchhandlung Walther König
LWL-Landesmuseum für Kunst und Kulturgeschichte, Domplatz 10, 48143 Münster
 
 
ENVISAGING VOCATIONAL REHABILITATION
Vocational rehabilitation is a term that refers to a process of compelling and enabling people to overcome disability so they can work. This social practice is the starting point for a collaboration between the Berlin-based artist Simon Denny and Joanna Fadyl, a PHD candidate from New Zealand who’s thesis focuses on this topic. For the joint project "Envisaging Vocational Rehabilitation", Denny revisits his artistic interest in topics such as leisure culture, the entertainment industry (video, television) and the aesthetics of an information economy by working with information design. The project consists of a collaborative reorganisation of visual and textual material from Fadyl’s research around the development of the definition and role of reintegration into employment and society. Exemplary documents originating from New Zealand’s social history have been compiled and processed by Denny and the Amsterdam based designer David Bennewith to form a central brochure from where the diverse parts of the project are accessed.

 
Video screening:
The Danger of Glitziness
And other Visualization Faux Pas
by Wayne Lytle
© 1993 Cornell Theory Center
 
A project by Simon Denny and Joanna Fadyl
Design: David Benewith
Computer Application: in collaboration Pippin Barr
Twitter feed: Rafaël Rozendaal
Video: in collaboration with Timur Si-Qin
 
With the support of Creative New Zealand.

Westfälischer Kunstverein
Friesenring 40 (Büro)
D – 48147 Münster
T +49 251 46157
F +49 251 45479
info@westfaelischer-kunstverein.de
www.westfaelischer-kunstverein.de/





Hany Armanious
17 January 2012

The Golden Thread
Monash University Museum of Art
1 February - 7 April 2012

Hany Armanious: The Golden Thread is the Australian premiere of works shown at the 54th Venice Biennale in 2011, presented alongside a suite of new works and an new artist's book developed for MUMA.

www.monash.edu.au/muma/exhibitions/upcoming/armanious.html

Assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body




Summer Hours
20 December 2011

The gallery will be closing for the summer holidays from Friday 23 December 2011, and will reopen on Tuesday 17 January 2012.

Exhibitions for 2012 will begin on Thursday 26 January with solo shows by Campbell Patterson and Imogen Taylor. Further details will be announced in the new year.

The gallery will be open by appointment during the holiday period.

We wish you a safe and enjoyable holiday season.



Steve Carr
15 December 2011

Rencontres Internationales Paris/Berlin/Madrid
18th November — 26th November 2012
Centre Pompidou
Place Georges Pompidou, Paris
art-action.org

Steve Carr will be included in the Rencontres Internationales Paris/Berlin/Madrid at the Centre Pompidou in Paris. The show will then travel to the Haus der Kulturen der Welt in Berlin, and finally to the Reina Sofia National Museum in Madrid.

Since 1997, the Rencontres Internationales Paris/Berlin/Madrid proposes an interdisciplinary project focusing on film, video and multimedia. Between new cinema and contemporary art, this event presents an international programming gathering works of artists and filmmakers acknowledged on the international scene along with young artists and not much distributed filmmakers.

This year's programme has been selected from 5500 submissions as well as by invitations made to some artists and filmmakers. It is the result of an elaborate international search for works: 150 works from Germany, France, Spain and 40 other countries, gathering internationally-known artists and filmmakers with young artists and filmmakers presented for the first time

In 2007, the Rencontres Internationales, which initially took place in Paris and Berlin, opened up to a third city: Madrid. This event now constitutes a unique artistic and cultural platform in Europe for artists, professional networks and various audiences.



Art Cologne + NADA Cologne
10 December 2011

Director Daniel Hug is pleased to announce the list of exhibitors for the 46th edition of the ART COLOGNE, April 18th – 22nd, 2012, presenting a wide range of Modern, Post-War and Contemporary art. New this year will be the co-operation between ART COLOGNE and the New Art Dealers Alliance in premiering the first European NADA fair, which further enhances Cologne’s long tradition of supporting new art.

1301PE, Los Angeles

A // Aanant & Zoo, Berlin; Adamski, Berlin; Akinci, Amsterdam; Ancient & Modern, London; Mikael Andersen, Berlin / Copenhagen; Artelier, Graz; Aussereuropäische Kunst Dierking, Cologne

B // Baer, Dresden; Base, Tokyo; Catherine Bastide, Brussels; Guido W. Baudach, Berlin; Baukunst, Cologne; Beck & Eggeling, Dusseldorf; Klaus Benden, Cologne; Berinson, Berlin; Andreas Binder, Munich; Bischoff Weiss, London; Bo Bjerggaard, Copenhagen; Boisserée, Cologne; Bernard Bouche, Paris; BQ, Berlin; Ben Brown Fine Arts, London / Hong Kong; Daniel Buchholz, Cologne / Berlin; Buchmann, Berlin/Lugano; Bugdahn und Kaimer, Dusseldorf

C // Luis Campaña, Berlin; Gisela Capitain, Cologne; Carbon12, Dubai; carlier | gebauer, Berlin; Carreras Mugicas, Bilbao; Cherry and Martin, Los Angeles; CLAGES, Cologne; Conrads, Dusseldorf; Corbett vs Dempsey, Chicago; Cosar HMT, Dusseldorf; Crone, Berlin; Croy Nielsen, Berlin

D // Delaive, Amsterdam; DEWEER, Otegem; Dirimart, Istanbul; Döbele, Dresden; Dovin, Budapest; DREI, Cologne

E// Christian Ehrentraut, Berlin; Eigen + Art, Leipzig / Berlin

F// Johannes Faber, Vienna; Fahnemann, Berlin; fiebach, minninger, Cologne; Figge von Rosen, Cologne; Konrad Fischer, Dusseldorf; Fischer Kunsthandel, Berlin; Forsblom, Helsinki;
MaxWeberSixFriedrich, Munich; Klaus Gerrit Friese, Stuttgart

G // Hilario Galguera, Mexico City; Francois Ghebaly, Los Angeles; Bärbel Grässlin, Frankfurt; Karsten Greve, Cologne / Paris / St. Moritz; Barbara Gross, Munich

H // Haas, Zurich; Häusler Contemporary, Munich / Zurich ; Hammelehle und Ahrens, Cologne; Reinhard Hauff, Stuttgart; Hauser & Wirth, Zurich / London / New York; Jochen Hempel, Leipzig; Hennemann, Königswinter; Henze & Ketterer, Wichtrach / Bern; Ernst Hilger, Vienna; hoffmann, Friedberg; Heinz Holtmann, Cologne; Andreas Huber, Vienna

I // Akira Ikeda, Berlin / Tokyo / New York

J // Fred Jahn, Munich; Jaski, Amsterdam; Annely Juda Fine Art, London

K // Galleri K, Oslo; Kadel Willborn, Karlsruhe; Kalfayan, Athens / Thessaloniki; mike karstens, Munster; Parisa Kind, Frankfurt; Kisterem, Budapest; Kleindienst, Leipzig; KLEMM'S, Berlin; Klosterfelde, Berlin; Bernd Klüser, Munich; Sabine Knust, Munich; Koch, Hannover; KOW - Koch Oberhuber Wolf, Berlin; Dr. Dorothea van der Koelen, Mainz / Venedig; Johann König, Berlin; Leo Koenig, New York; KONZETT, Vienna; Krobath, Vienna / Berlin; Bernd Kugler, Innsbruck

L // L.A. Galerie, Frankfurt; Laden fuer Nichts, Leipzig; Lahumière, Paris; Lange + Pult, Zurich; Christian Lethert, Cologne; Levy, Hamburg / Berlin; Löhrl, Mönchengladbach; Patricia Low Contemporary, Gstaad / Geneva; Luce, Turin; Ludorff, Dusseldorf; Linn Lühn, Dusseldorf; Lüttgenmeijer, Berlin; Lullin + Ferrari, Zurich

M // Maior, Pollenca / Palma de Mallorca; Brigitte March, Stuttgart; Maulberger, Munich; Mario Mauroner, Vienna / Salzburg; Hans Mayer, Dusseldorf; Mirko Mayer / m-projects, Cologne; Hubertus Melsheimer, Cologne; Moderne, Silkeborg; Moeller Fine Art, New York / Berlin; Vera Munro, Hamburg

N // nächst St. Stephan, Vienna; Christian Nagel, Cologne / Berlin / Antwerp; Nature Morte, Berlin / New Delhi; Neu, Berlin; Georg Nothelfer, Berlin

O // Alexander Ochs, Berlin / Beijing; Roslyn Oxley9, Sydney

P // Paradise Row, London; Francois Paviot, Paris; Rupert Pfab, Dusseldorf; Karl Pfefferle, Munich; Guy Pieters, Knokke-Heist / Paris; Produzentengalerie, Hamburg; PSM, Berlin

R // Raster, Warsaw; Reception, Berlin; Thomas Rehbein, Cologne; Remmert & Barth, Dusseldorf; Rieder, Munich; Petra Rinck, Dusseldorf; Margarete Roeder, New York; Thaddaeus Ropac, Paris / Salzburg; Ruberl, Vienna; Jette Rudolph, Berlin

S // Salis & Vertes, Zurich / Salzburg; Samuelis Baumgarte, Bielefeld; Scheffel, Bad Homburg; Aurel Scheibler/Scheibler Mitte, Berlin; Schleicher + Lange, Paris / Berlin; Schlichtenmaier, Grafenau / Stuttgart; Schmidt Maczollek, Cologne; Schönewald Fine Arts, Dusseldorf, Schwarzer, Dusseldorf; SCQ, Santiago de Compostela; Sies + Höke, Dusseldorf; Simonis, Dusseldorf; Société, Berlin; Thomas Solomon, Los Angeles; Sommer & Kohl, Berlin; Springer & Winckler, Berlin; Sprüth Magers, Berlin / London; Staeck, Heidelberg; Walter Storms, Munich; Hans Strelow, Dusseldorf; Jacky Strenz, Frankfurt; Florian Sundheimer, Munich

T // taguchi fine art, Tokyo; Suzanne Tarasiève, Paris; Elisabeth & Klaus Thoman, Innsbruck; Thomas, Munich; Barbara Thumm, Berlin; Wilma Tolksdorf, Frankfurt / Berlin

U // Utermann, Dortmund

V // V1, Copenhagen; VAN HORN, Dusseldorf

W // edith wahlandt, Stuttgart; Michael Werner, Cologne / Berlin / New York; Wetterling, Stockholm; Whitestone, Tokyo; Jocelyn Wolff, Paris; Workplace, Gateshead; Tony Wuethrich, Basel

Z // ZAK | BRANICKA, Krakow/Berlin; Susanne Zander, Cologne; Thomas Zander, Cologne

*Partial List

www.artcologne.com

NADA Cologne

A // American Contemporary, New York

B // Rod Barton, London; Nicelle Beauchene, New York; Bischoff Projects, Frankfurt; Blanket, Vancouver; Neue Alte Brücke, Frankfurt

C // Shane Campbell, Chicago; Canada, NewYork; Lisa Cooley Fine Art, New York

D // Charlotte Desaga, Cologne

E // Derek Eller, New York; European Fine Art, Munich

F // Cinzia Friedländer, Berlin; James Fuentes, New York

H // Jack Hanley, New York

I // The International 3, Manchester; Invisible-Exports, New York

L // Emanuel Layr, Vienna; Michael Lett, Auckland; Lorenz, Frankfurt

M // Max Mayer, Dusseldorf

P // Helena Papdopoulos/Andreas Melas, Athens; Poor Farm, Manawa; Power, Hamburg

S // Schmidt & Handrup, Cologne; Silverman, San Francisco; soy capitan; Berlin; Stereo, Poznan; SVIT, Prague

U // Untitled, New York

W // Warhus Rittershaus, Cologne

www.newartdealers.org



Eve Armstrong, Simon Denny, Jacqueline Fraser, Sriwhana Spong
8 December 2011

Prospect: New Zealand Art Now
26 November 2011 - 12 February 2012
citygallery.org.nz/prospect-new-zealand-art-now/

Concentrating on contemporary art and the New Zealand artists producing some of the most thought provoking and confident work today, City Gallery Wellington will host the fourth in the series of Prospect: New Zealand Art Now exhibitions from 26 November 2011.

As a cycle of shows begun by the Gallery in 2001 to provide “the most ‘up-to-the-minute’ survey of contemporary art in the country” (1) Prospect: New Zealand Art Now will round out the year and kick things off in 2012 with a refreshingly select exhibition.

Pulled into focus by Senior Curator Kate Montgomery Prospect promises to be a distillation of New Zealand artists whose work contends with the pressures, possibilities and realities facing their practice and will profile recently created artworks as well as a number of new works produced specifically for the show.

As an exhibition dedicated to provoking discussion and debate, this year's Prospect will show a specific range of artworks and artists that make the New Zealand arts scene the sophisticated, challenging and fascinating field it is today. Montgomery also sees Prospect’s tenth anniversary as a timely opportunity to assess the show’s history and ongoing relevance.



Campbell Patterson
8 December 2011

Boys from the Black Stuff
Dunedin Public Art Gallery
10 December 2011 - 24 March 2012

dunedin.art.museum/exhibitions.asp?p=2

Boys from the Black Stuff brings together a selection of artworks from the Gallery's permanent and long-term loan collections.
Paying particular attention to contemporary New Zealand artist's who have employed humour as a means to disturb, unnerve and raise questions about arts place, value and authenticity, this exhibition promises to surprise and delight audiences as it slowly changes and evolves over the duration of its life.



Dan Arps
8 December 2011

Local Knowledge
The Dowse Art Museum
17 December 2011 – 22 April 2012
www.newdowse.org.nz/en/Exhibitions/Future-Exhibitions/Local-Knowledge/

A new exhibition that examines the specifics of location and time and what it means to be at home. Local Knowledge features works by a range of artists: Dan Arps, Simon Faithfull, Veranoa Hetet, Mike Heynes, Julian Priest, Andrew Ross, Joe Sheehan, Ans Westra, Zheng Guogu plus Fiona Jack's Living Halls Project.

Where we are matters. In our increasingly nomadic lives, location is important. Everywhere is local. Right here is The Dowse Art Museum, sited on land that is now civic space but has over the years been a housing development, market gardens, and before that a grove of Kahikatea, part of the rohe of Te Atiawa.

At a time when we are experiencing the greatest mobility and interconnectedness humans have ever known, the idea of ‘localism’ has conversely gained currency.

The artists in this exhibition come from here, there and elsewhere. All of them explore ideas of location and place via their own perspectives and mediums. Some of them are focused on building a deep relationship with a site, such as Wellington photographer Andrew Ross, or a family lineage, like weaver Veranoa Hetet.

Others are interested in mapping one location on another, as in Chinese artist Zheng Guogu’s physical manifestation of a virtual realm—creating an elaborate personal home from the online game Age of Empires. Fictional histories are also reflected in Wellington artist Mike Heyne’s playful interventions into historic museum displays, which rewrite the story of The Hutt as we know it.

A physicist might point out that you can’t have place without time. UK artist Simon Faithfull’s film 0˚00 Navigation deals with a literal kind of time travel—an epic walk through the UK tracing the Greenwich Meridian, ground zero for the world’s time zones. Defying standard regulations of timekeeping, Whanganui artist Julian Priest creates a new time especially for The Dowse that responds to the speed of local activity.

In Local Knowledge, the idea of place is always present, but sometimes elusive. It goes beyond geographic terrain to landscapes that are imagined, remembered, contradictory and ever evolving.



Tree House - McCahon Residency Five Years on
1 December 2011

Tree House - McCahon Residency Five Years on

Celebrating five years of the McCahon House Artists’ Residency programme – Tree House: McCahon Residency Five Years On. The exhibition consists of works produced as an edition or a series by the fifteen artists who have completed the residency programme over the last five years.

Eve Armstrong was a recipient of the residency in March-May 2009.

Lopdell House Gallery
418 Titirangi Road, Titirangi, Auckland

Exhibition: 8 December 2011-12 February 2012

Opening 6pm Thursday 8 December





Gretchen Albrecht & Eve Armstrong
15 November 2011

Saturday 19 November, 1pm
Michael Lett, 285/2 Great North Road, Auckland

Michael Lett is pleased to present Heather Galbraith in conversation with Gretchen Albrecht and Eve Armstrong.
This event will coincide with the opening weekend of the exhibition Making Arrangements by Gretchen Albrecht & Eve Armstrong, which continues until 23 December.

The discussion will focus on ideas raised in Galbraith's new text, commissioned for the catalogue accompanying
the exhibition, co-published by Michael Lett and Sue Crockford Gallery.

Heather Galbraith is Associate Professor and Head of School of Fine Arts at Massey University, Wellington. She has a wealth of local and international curatorial and art writing experience.

Copies of the catalogue will be available to purchase directly from the gallery.



BOUNTY an exhibition by Chris Lipomi and Natilee Harren
10 November 2011

7 November 2011 - 4 February 2012

On view at two locations in Los Angeles:

5900 Wilshire Blvd, open 24 hours

HMS Bounty, 3357 Wilshire Blvd, open Mon-Thurs 11am-1am; Fri-Sat 11am-2am; Sun 12pm-12am

Opening reception:
Friday, 11 November, 7-9pm at 5900 Wilshire; 9pm-late at HMS Bounty

The HMS Bounty is known infamously as the British ship that was the site of the mythical 1789 “mutiny on the Bounty.” If “bounty” can refer to a gift or a reward paid for a killing, it was a fitting name for the ship given that the crew’s mission was in fact to transport breadfruit trees from Tahiti to the West Indies in hope that the plant would provide an inexpensive diet for slaves. In Los Angeles, the HMS Bounty acquires yet another layer of meaning: it is a nautical-themed pub on Wilshire Boulevard in Koreatown. Approximately 3.5 miles west of the Bounty is 5900 Wilshire (the "Variety" building), a 30-story high-rise that stands opposite the Los Angeles County Museum of Art (LACMA). For the exhibition BOUNTY, artist Chris Lipomi and curator Natilee Harren appropriate both sites as the stage for an experimental exhibition that reconsiders our habitus regarding the display and reception of art and the ways in which history and culture are preserved in the built environment.

The Bounty occupies the ground floor of The Gaylord Apartments, opened in 1924 and named after Henry Gaylord Wilshire, the land developer and outspoken socialist after whom the boulevard is named. The building faces the former site of the Ambassador Hotel where Robert F. Kennedy was assassinated and sits near other non-extant locales frequented by golden-era Hollywood stars, including the Brown Derby and Haig Jazz Club. Having survived many incarnations—as the Gay Room, Gaylord Dining Room, Dale’s Secret Harbor, and Golden Anchor—the pub was relaunched as the HMS Bounty in 1962 by founders Gordon Fields and Dick O’Neill and continues business under current owner Ramon Castaneda, who first worked there as a busboy at age 17. Set against the restaurant’s red booths, wood paneling, cork ceilings, faux portholes, maritime tchotchkes and prints, and jukebox soundtrack of west coast jazz, the stories passed between the Bounty’s regular cast of patrons recall a vanishing era of LA history. The Bounty’s continued existence as a living time capsule becomes only more extraordinary and complex given its location at the center of the largest Korean community in the US where the residential population is 70% Latino. Having recently found new life as a gathering place for artists, the Bounty is a place where Angelenos of diverse generations and backgrounds have forged an unlikely community.

BOUNTY the exhibition adopts the Bounty pub as a readymade environment assisted by a series of subtle, meticulous displacements. Lipomi and Harren have re-arranged the pub’s decor to draw attention to the innumerable material details that conjure its unique atmosphere. A singular artwork by Lipomi—a custom-antiqued mirror—has replaced the first thing one typically sees upon entering the space: a large wooden crest salvaged from the Bounty’s sister establishment formerly on the same block and LA’s first sports bar, the Bull & Bush pub. Today, the crest remains the only physical evidence of the Bull & Bush visible in the neighborhood, hidden in plain sight among the Bounty’s nautical decor. This object—now the Bounty’s bounty—has been installed on a plate glass window in the lobby of 5900 Wilshire. Viewed from inside the building, the crest appears to be hung on the edifice of LACMA, asserting its identity as a significant cultural artifact. Two breadfruit trees flanking the crest register its journey away from home. To hang one of the Bounty’s folk objects on LACMA indexes the ostensibly lowbrow space of the pub to the high-culture space of the arts institution and provokes contemplation of the ways in which our experiences of art are shaped by naturalized assumptions about the appropriate context for cultural consumption.

At the Bounty, the addition of Lipomi’s piece underscores the role of the surrounding prints, paintings, and objects as “café art,” calling attention to art’s function as the setting for unfolding sociality. While some visitors will come to the Bounty for the first time to view Lipomi’s piece, regular patrons will notice the wholesale redecoration; in many ways, the latter are the exhibition’s ideal audience. Or, with eating and drinking continuing as always, the show may go unnoticed. BOUNTY continues Lipomi’s practice of staging exhibitions in unconventional sites and uniting incongruous objects, concepts, and sites toward the production of alternative art histories. While the current intervention intends to be a critical engagement with the creation of meaning of a place, it is also a careful labor imbued with a sense of romance and nostalgia for a site that represents a moment of LA history that may be quietly disappearing.

Chris Lipomi was born in 1975 in Miami, Florida and lives in Los Angeles. He was educated at UCLA, Valand Kunstskolen, Göteborg, Sweden, the San Francisco Art Institute, and the Skowhegan School of Painting and Sculpture. Lipomi’s work has been the subject of one-person exhibitions at Michael Lett, Auckland, New Zealand; Karma International, Zurich, Switzerland; and Daniel Hug, Los Angeles. His work has been included in group exhibitions at European Kunsthalle, Köln, Germany; Domaine de Chamarande, France; Regen Projects, Los Angeles; and The Seattle Art Museum.

Natilee Harren is an art historian and critic based in Los Angeles. Her previous curatorial projects include All Time Greatest, Fellows of Contemporary Art, Los Angeles (2010); Solo Solo: Vincent Ramos, Crisp London Los Angeles (2008); DRIP EVENT (for George Brecht), PawnShop, Los Angeles, (2007); and The Trans-Siberian Radio Project (2005).







No color in your cheeks unless the wind lashes your face
2 November 2011

No color in your cheeks unless the wind lashes your face

An online exhibition curated by Timothée Chaillou

Itsourlayground, Glasgow, November 2 - 30 2011

Alejandro Almanza Pereda, Kathryn Andrews, Hany Armanious, Fayçal Baghriche, Davide Balliano, Guillaume Bijl, Bill Bollinger, Shary Boyle, Christoph Büchel, Lizzi Bougatsos, Barbara Breitenfellner, Nina Canell, Nina Childress, Anne Collier, Claudia Comte, Susan Collis, Heather Cook, Sean Dack, Michael Dean, Emilie Ding, Ayse Erkmen, Roe Ethridge, Angus Fairhust, Peter Friedl, Ximena Garrido-Lecca, Francesco Gennari, Noa Giniger, Steven Gontarski, Gerald Hayes, Martijn Hendriks, Kent Henricksen, Julian Hoeber, Nathan Hylden, Bruno Jakob, Philippe Jarrigeon, Jacob Kassay, Ian Kiaer, Josh Kolbo, Roland Kollnitz, Andrei Koschmieder, Laurent Kropf, Andrew Kuo, Elad Lassry, Crisina Lei Rodriguez, Klara Liden, David Lieske, Trevor Lloyd, Justin Lowe, David Malek, Taylor McKimens, Ryan McLaughlin, John Miller, Stefan Muller, Martin Oppel, Laura Owens, Paul Owens, Stephen Prina, Chloé Quenum, Amanda Ross-Ho, Vittorio Santoro, Shirana Shahbazi, Steven Shearer, Lewis Stein, Beat Streuli, Cheyney Thompson, Remco Torenbosch, Niele Toroni, Frances Trombly, Ned Vena, Klaus Winichner, Jordan Wolfson, Bobbi Woods

itsourplayground.com/42/no_color_in_your_cheeks_unless_the_wind_lashes_your_face



Dan Arps - Frieze Art Fair
30 September 2011

Frieze Art Fair
Regent's Park, London
13–16 October 2011

frieze.com

The ninth edition of the leading international contemporary art fair takes place in London's Regent's Park from 13–16 October 2011. The fair is sponsored by Deutsche Bank. 173 of the world's leading galleries representing 33 countries will present new work by over 1,000 of the world's most innovative artists.

Frieze Projects
Frieze Projects is a unique programme of artists' commissions realised annually at Frieze Art Fair. This year the Projects are curated by Sarah McCrory and are supported by the Emdash Foundation.

The artists commissioned to create these eight site-specific works for Frieze Art Fair are: Bik Van der Pol, Pierre Huyghe, Christian Jankowski, Oliver Laric, LuckyPDF, Peles Empire, Laure Prouvost and Cara Tolmie.

This year's programme incorporates a number of unique viewpoints throughout the fair that will demand a shift in viewers' perception.

The Emdash Award
The winner of the Emdash Award 2011 is the video and performance artist Anahita Razmi, who is based in Stuttgart. Razmi will present a new commission that intends to draw attention to how Tehran's skyline was recently used by protestors after the Iranian presidential election. She will use choreographer Trisha Brown's 1971 work Roof Piece, which took place on 12 different rooftops over a ten-block area in downtown New York, as its point of departure. The work will be presented as a video installation at Frieze Art Fair.

Frieze Film
Frieze Film is a programme of artist films screened to coincide with Frieze Art Fair. This year it is curated by Sarah McCrory and includes five commissioned films that will be shown in the auditorium at the fair and will be previewed in a new post-watershed Channel 4 arts slot during the week of Frieze Art Fair from Monday 10 October to Friday 14 October.
The artists commissioned to make new work for Frieze Film are: Ed Atkins, Lutz Bacher, Anthea Hamilton, Judith Hopf and Katarina Zdjelar.

Frieze Talks
John Bock, Daniel Buren, Adam Curtis, Alison Knowles and Taryn Simon, are all part of the international line-up of highly respected artists, filmmakers, curators and cultural commentators taking part in Frieze Talks 2011.

Frieze Talks is a daily programme of keynote lectures, panel debates and discussions that take place in the auditorium at Frieze Art Fair. It is presented by Frieze Foundation and programmed by the editors of frieze magazine, Jennifer Higgie, Jörg Heiser and Dan Fox.

Sculpture Park
The Sculpture Park offers a rare opportunity to see a significant group of international work that is addressed on a public scale. Presented in the wonderful setting of the English Gardens of Regent's Park, the Sculpture Park is located a short walk to the east of the entrance to the fair. The Sculpture Park is free to the public.

This year's Sculpture Park presents work by some of the most acclaimed international sculptors. These include new works by Thomas Houseago and Claudia Fontes, as well as pieces by Tom Friedman and Kiki Smith.

The Stand Prize
The third year of the Frieze Art Fair Stand Prize, sponsored by Champagne Pommery, will be judged by: Tom Eccles (Director, The Centre for Curatorial Studies at Bard College, New York); Karola Kraus (Director, MUMOK, Vienna); Stéphanie Trembley (Independent Curator, Beaux Arts magazine, Paris). A prize of 10,000 GBP will go to the most innovative gallery stand at the fair. The prize will be awarded at 4pm at the fair on Wednesday 12 October.

The Outset/Frieze Art Fair fund to Benefit the Tate Collection
This unique partnership between Outset, Frieze Art Fair and Tate, based on the generosity of Outset, a charitable foundation focused on supporting new art, enables Tate to buy important work by emerging artists at the fair for the national collection. 83 works by 54 significant international artists have been collected since 2003.

The guest curators for the fund in 2011 will be: Adam Szymczyk (Director of the Kunsthalle Basel) and José Roca (Curator working out of Bogotá and Philadelphia, where he is currently Artistic Director of Philagrafika 2010; and Curator of Mercosul Biennial 2011).

Visitors
Book tickets by midnight (GMT) October 1 to secure the best ticket prices. To learn more about Frieze Art Fair including maps and hotel information see frieze.com

New public opening dates and hours:
Thursday 13 October, 12pm–7pm
Friday 14 October, 12pm–7pm
Saturday 15 October, 12pm–7pm
Sunday 16 October, 12pm–6pm


Exhibiting Galleries
303 Gallery, New York – Galería Juana de Aizpuru, Madrid – Galería Helga de Alvear, Madrid – Andersen's Contemporary, Copenhagen – The Approach, London – BaliceHertling, Paris –Laura Bartlett Gallery, London – Galerie Catherine Bastide, Brussels – Galerie Guido W. Baudach, Berlin – Marianne Boesky Gallery, New York – Tanya Bonakdar Gallery, New York – Bortolami, New York – Galerie Isabella Bortolozzi, Berlin – The Breeder, Athens – Broadway 1602, New York – Gavin Brown's enterprise, New York – Galerie Daniel Buchholz, Cologne –Cabinet, London – Campoli Presti, London – Canada, New York – Galerie Gisela Capitain, Cologne – China Art Objects Galleries, Los Angeles – Sadie Coles HQ, London – Contemporary Fine Arts, Berlin – Pilar Corrias Gallery, London –Corvi-Mora, London – Galerie Chantal Crousel, Paris – Thomas Dane Gallery, London – Massimo De Carlo, Milan – Elizabeth Dee, New York – Galerie Eigen + Art, Berlin – galerie frank elbaz, Paris – Konrad Fischer Galerie, Dusseldorf – Foksal Gallery Foundation, Warsaw – Galeria Fortes Vilaça, Sao Paulo – Marc Foxx, Los Angeles – Carl Freedman Gallery, London – Stephen Friedman Gallery, London – Frith Street Gallery, London – Gagosian Gallery, London – Annet Gelink Gallery, Amsterdam – A Gentil Carioca, Rio de Janeiro – Marian Goodman Gallery, New York – Greene Naftali, New York – greengrassi, London – Galerie Karin Guenther, Hamburg – Jack Hanley Gallery, New York – Hauser & Wirth, London – Herald St, London – Hollybush Gardens, London – Hotel, London – Xavier Hufkens, Brussels – IBID Projects, London – Ingleby Gallery, Edinburgh – Taka Ishii Gallery, Tokyo – Alison Jacques Gallery, London – Galerie Martin Janda, Vienna – Johnen Galerie, Berlin – Juliètte Jongma, Amsterdam – Annely Juda Fine Art, London – Casey Kaplan, New York – Georg Kargl Fine Arts, Vienna – Galleri Magnus Karlsson, Stockholm – Paul Kasmin Gallery, New York – Kerlin Gallery, Dublin – Anton Kern Gallery, New York – Galerie Peter Kilchmann, Zurich – Johann König, Berlin – David Kordansky Gallery, Los Angeles – Tomio Koyama Gallery, Tokyo – Andrew Kreps Gallery, New York – Galerie Krinzinger, Vienna – Kukje Gallery, Seoul – kurimanzutto, Mexico City – Yvon Lambert, Paris – Lehmann Maupin, New York – Michael Lett, Auckland – Lisson Gallery, London – Long March Space, Beijing – Kate MacGarry, London – Mai 36 Galerie, Zurich – Giò Marconi, Milan – Matthew Marks Gallery, New York – Mary Mary, Glasgow – Galerie Meyer Kainer, Vienna – Meyer Riegger, Karlsruhe – Andreiana Mihail Gallery, Bucharest – Victoria Miro, London – The Modern Institute, Glasgow – Murray Guy, New York – Galleria Franco Noero, Turin – Galerie Giti Nourbakhsch, Berlin Galleria Lorcan O'Neill, Rome – Office Baroque Gallery, Antwerp – The Pace Gallery, New York – Maureen Paley, London – Peres Projects, Berlin – Perrotin, Paris – Galerie Francesca Pia, Zurich – Galeria Plan B, Cluj – Galerija Gregor Podnar, Berlin – Galerie Eva Presenhuber, Zurich – Produzentengalerie, Hamburg – Project 88, Mumbai – Raster, Warsaw – Raucci/Santamaria, Naples – Almine Rech Gallery, Brussels – Regina Gallery, Moscow – Anthony Reynolds Gallery, London – Rodeo, Istanbul – Galerie Thaddaeus Ropac, Paris – Andrea Rosen Gallery, New York – Salon 94, New York – Aurel Scheibler, Berlin – Galerie Rüdiger Schöttle, Munich – Micky Schubert, Berlin – Sfeir-Semler, Beirut – Stuart Shave/Modern Art, London – Sies + Höke, Dusseldorf – Galeria Filomena Soares, Lisbon – Sommer Contemporary Art, Tel Aviv – Reena Spaulings Fine Art, New York – Sprüth Magers Berlin London, Berlin – Standard (Oslo), Oslo – Diana Stigter, Amsterdam – Galeria Luisa Strina, Sao Paulo – T293, Naples – Timothy Taylor Gallery, London – Team Gallery, New York – The Third Line, Dubai – Tina Kim Gallery, New York – Vermelho, Sao Paulo – Vilma Gold, London – Vitamin Creative Space, Guangzhou – Waddington Custot Galleries, London – Galleri Nicolai Wallner, Copenhagen – Wallspace, New York – Galerie Barbara Weiss, Berlin – Fons Welters, Amsterdam – Michael Werner, New York – White Cube, London – Max Wigram Gallery, London – Wilkinson, London – XL Gallery, Moscow – Donald Young Gallery, Chicago – Zeno X Gallery, Antwerp – Zero, Milan – David Zwirner, New York

Frame
Aanant & Zoo, Berlin – Ancient & Modern, London – Bischoff/Weiss, London – The Box, Los Angeles – D+T Project, Brussels – Freymond-Guth Fine Arts, Zurich – François Ghebaly Gallery, Los Angeles – hunt kastner, Prague – Inga, Tel Aviv – Kolonie Gallery, Warsaw – KOW, Berlin – Wilfried Lentz, Rotterdam – Ignacio Liprandi Arte Contemporáneo, Buenos Aires – Maisterravalbuena, Madrid – Marz Galeria, Lisbon – Take Ninagawa, Tokyo – One And J. Gallery, Seoul – RaebervonStenglin, Zurich – Ramiken Crucible, New York – Rampa, Istanbul – Revolver Galeria, Lima – Casas Riegner Gallery, Bogota – Silverman Gallery, San Francisco – Jonathan Viner, London – Rob Tufnell, London – Alex Zachary, New York



Campbell Patterson
20 September 2011

Reason and Rhyme

Damiano Bertoli, Julian Dashper, Richard Frater, Starlie Geikie, Simon Morris, Campbell Patterson, Hanna Tai, Mimi Tong, Jake Walker.
Bringing together nine leading contemporary artists from Australia and New Zealand the second Reason and Rhyme exhibition investigates the urge to structure and channel creative production through systems, grids and frameworks. It explores the urge to locate oneself within the map or the doctrine, and to impose rules and structures across creative practice. It investigates how these systematic devices both contain and channel creative enterprise, as well as plotting and contextualising it.
The second exhibition in a two part exchange, Reason and Rhyme is a collaboration between Gertrude Contemporary, Melbourne & ST PAUL St Gallery, Auckland. Curators: Emily Cormack, Charlotte Huddleston, Amita Kirpalani.

30 September - 28 October, 2011, Galleries One and Two

www.chartwell.org.nz/About/ChartwellPatronage.aspx

stpaulst.aut.ac.nz/index.php?option=com_content&view=article&id=257:reason-and-rhyme-st-paul-st&catid=57:screenings



Shane Cotton
16 September 2011

In the last half-decade, artist Shane Cotton has created a series of adventurous and exhilarating 'skyscapes' – full of soaring birds, ragged skywriting and plunging cliffs. A major exhibition of these of these works at Christchurch Art Gallery, titled 'The Hanging Sky', has been postponed until 2012 due to the earthquake, but Christchurch audiences can learn more of them in this illustrated artist's talk. In conversation with senior curator Justin Paton, Cotton will discuss journeys, sacred landscapes, the power of words and the art of painting.

christchurchartgallery.org.nz/calendar/detail/shane-cotton-talking-painting/

In the last half-decade, artist Shane Cotton has created a series of adventurous and exhilarating 'skyscapes' – full of soaring birds, ragged skywriting and plunging cliffs.

A major exhibition of these of these works at Christchurch Art Gallery, titled The Hanging Sky, has been postponed until 2012 due to the earthquake, but Christchurch audiences can learn more of them in this illustrated artist's talk. In conversation with senior curator Justin Paton, Cotton will discuss journeys, sacred landscapes, the power of words and the art of painting.



Michael Lett publications at the 2011 New York Art Book Fair
14 September 2011

Michael Lett will present a number of new publications at the 2011 New York Art Book Fair with split/fountain (S/F), Auckland.

www.splitfountain.org


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Printed Matter, Inc.
THE NY ART BOOK FAIR
30 September – 2 October, 2011

Preview:
Thursday, 29 September, 6–9pm

www.nyartbookfair.com

MoMA PS1
22-25 Jackson Avenue at 46th Avenue
Long Island City, NY

View the complete list of exhibitors and a schedule of programs:
www.nyartbookfair.com



Julian Dashper
2 September 2011

David Herkt reviews "Julian Dashper - This is not writing" in latest issue of Landfall

www.landfallreviewonline.com/



Michael Parekowhai
2 September 2011

Creative New Zealand and Christchurch Art Gallery director Jenny Harper are pleased to announce that Michael Parekowhai's 'On first looking into Chapman’s Homer' will be shown at Paris’s renowned musée du quai Branly.

Parekowhai’s exhibition will travel to Paris at the conclusion of the Venice Biennale in October with three works being presented at the museum. 'A Peak in Darien' and 'Chapman’s Homer' will be installed in early November 2011 in the gardens of the museum beside rue de l’Université, a key route for pedestrians visiting the nearby Eiffel Tower. Te Papa’s 'E Tu Ake' will still be on at this time and connections may be made with this exhibition of New Zealand work.

In February 2012 the carved Steinway, 'He Korero Purakau mo Te Awanui o Te Motu: story of a New Zealand river' will be presented in the atrium of the museum with a series of recitals planned.

The exhibition will return to New Zealand mid 2012 at Christchurch Art Gallery.

www.quaibranly.fr/



Campbell Patterson, Auckland Art Fair
3 August 2011

Campbell Patterson
Auckland Art Fair

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Michael Lett, Booth 26

Viaduct Event Centre
161 Halsey Street
Auckland

4-7 August 2011

www.artfair.co.nz/


* the gallery will be open until 6pm on Saturday the 6th of August with Steve Carr, 'mystical realism; modest gestures' and Séraphine Pick, 'Torn up phrases'




Chris Lipomi, 2011 SOIRÉE MATINÉE works on paper by Berlin & LA artists
15 July 2011

Wonderloch Kellerland Berlin and its new satellite in LA will open at the same time on Friday July 15th 2011. Berlin will show a collection of LA based artists and a selection of Berlin artists will be shown in Los Angeles. There will be a live stream via skype.


Wonderloch Kellerland Los Angeles:
Lutz Braun, André Butzer, Katharina Copony, Isabel Fein, Thilo Heinzmann, Alexander Hoepfner, Heike Kelter, Elke Krystufek, Liu Anping, Catherine Lorent, René Luckhardt, Manfred Peckl, Katrin Plavcak, Janne Räisänen, Bob Rutman, Bettina Sellmann, Sophia, Andrea Stappert, Katrin Thomas, Ulrich Wulff

Wonderloch Kellerland Berlin:
Alex Becerra, Erik Bluhm, Tom Harding jr., Julia M Leonard, Chris Lipomi, Florian Morlat, Robert Olsen, Jonah Olson, Adam Stamp, Hans-Peter Thomas aka Bara, Henry Vincent, Louis Waldon, Jeremy Yoder

16 July - 29 July 2011 by appointment only

Opening: Friday 15 july
in Los Angeles: 10 am - 1 pm
in Berlin: 7 pm - 10 pm


WONDERLOCH KELLERLAND Berlin
Biesentaler Straße 6
13359 Berlin
S-Bahn Bornholmer Straße / U-Bahn Osloer Straße / U-Bahn Pank Straße
Tel. 0049-(0)163-9042480

WONDERLOCH KELLERLAND Los Angeles
3149 Glendale Blvd.
Los Angeles, CA, 90039
phone 3235999700

www.wonderloch-kellerland.org



Zac Langdon-Pole – In Any Case
30 June 2011

Window are pleased to present the group show 'In Any Case'

Henry Babbage & Nell May
Kah Bee Chow
Richard Bryant
Eleanor Cooper
Anya Henis
Zac Langdon-Pole
Imogen Taylor

OSTRALE
Zentrum für zeitgenössische Kunst
Messering 8
D-01067 Dresden
July 1st - September 4th 2011

www.window.auckland.ac.nz



Campbell Patterson in Without Words
17 June 2011

Without Words
The Centre for Contemporary Photography
17.06.2011—07.08.2011

CATE CONSANDINE, PAUL KNIGHT, RICKY MAYNARD, TOM NICHOLSON, MIKE PARR AND CAMPBELL PATTERSON

Heightened emotion and empathy are responses often associated with documentary practice, through its historical connection to ‘lived reality’ and ‘event’. Still and moving images have documented protest, war, perpetrators and victims of crime and are often co-opted for political effect. Using this as a starting point, Without Words brings together photographic and video works from both art and documentary realms that engage with emotional affect, sincerity, passion and empathy. When art photography has abandoned its indexical relation to the real, how might it convey sorrow, humiliation, love or grief? Equally, can austerity be a powerful force in the historical record?

Presented in association with Melbourne Law School’s IILAH and APCML symposium, Affective States of International Criminal Justice, 20–22 July 2011 and supported by the Australian Research Council War Crimes Project.

CCP will host the closing panel of the symposium on Friday 22 July, with presentations by Kyla McFarlane and Tom Nicholson, chaired by Professor Gerry Simpson, Asia Pacific Centre for Military Law. Visit iilah.unimelb.edu.au

www.ccp.org.au/exhibitions.php?f=Gallery_3



Zac Langdon-Pole, than, Preview Tuesday 14 June 6pm, Michael Lett
10 June 2011

Zac Langdon-Pole
than

15-25 June 2011
Preview Tuesday 14 June 6pm




Julian Dashper: This is not writing.
9 June 2011

Please join Michael Lett and Clouds for the launch of Julian Dashper: This is not writing.

Tuesday 14 June 6pm at Michael Lett.

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A series of works based on the artist's passport photograph (1993) will also be shown and remain on view through to Saturday 18 June 2011.

Julian Dashper is one of New Zealand’s most respected artists and educators, his well-travelled practice revolutionising the thinking of abstraction and post-modernity in the Antipodean context. It is a little-known fact that Dashper wrote (as an artist, not a writer, he always maintained) throughout his career in a variety of forms – but always with the same post-minimal sharpness, wit and sense of liberated enquiry – and this book presents the bulk of this output. This is not writing. is a publication first discussed by Dashper and Michael Lett some fifteen years ago. The title and contents list were drawn up by the artist just prior to his death in 2009.

--

Julian Dashper: This is not writing.
ISBN: 978-0-9582981-9-3
Hardcover, cloth-bound
188 pages
Text-only
English
Edition: 1000
Dimensions: 236 x 166 x 23 mm
Co-published by Clouds and Michael Lett

This publication received funding support from Creative New Zealand,
the Chartwell Trust and the Sue Crockford Gallery.

For further information visit:
www.clouds.co.nz/julian-dashper-this-is-not-writing/




Campbell Patterson in The Bathroom Show
7 June 2011

'The Bathroom Show' with Michael Harrison, Sarah Ellen Hughes, and Campbell Patterson

Window, 5 Alfred Street
General Library Foyer
The University of Auckland

8 June - 15 July 2011

Opening Tuesday 7 June, 5:30pm

www.window.auckland.ac.nz



Jim Allen, L. Budd, Simon Denny, Michael Parekowhai, Séraphine Pick, Sriwhana Spong - Collecting Contemporary
21 May 2011

'Collecting Contemporary'

Museum of New Zealand Te Papa Tongarewa, Wellington

9 June 2011 – June 2012
Level 5
Free entry

In 'Collecting Contemporary' one will be able to see a varied selection of works by New Zealand artists working across a range of media, including painting, ceramics, sculpture, video, photography, and jewellery. All these works were acquired by Te Papa between 2006 and the present day. The exhibition will include a suite of video interviews with some of the exhibiting artists.

'Collecting Contemporary' includes work by Nick Austin, Stella Brennan, L. Budd, Ben Cauchi, Octavia Cook, Bill Culbert, Simon Denny, Warwick Freeman, Gavin Hipkins, Maddie Leach, Richard Lewer, Daniel Malone, Paratene Matchitt, Paul Maseyk, Simon Morris, Michael Parekowhai, John Parker, Martin Poppelwell, Séraphine Pick, Peter Robinson, Ann Shelton, Sriwhana Spong, Geoff Thornley, and Lisa Walker.

'Collecting Contemporary' opens on 11 June 2011. The exhibition will be refreshed for the 2012 New Zealand Arts Festival, taking the opportunity to profile additional contemporary artists.

www.tepapa.govt.nz



Eve Armstrong in Group Show at The Dowse Art Museum
6 May 2011

'Ruby: A 40 Year Love Affair with The Dowse'

The Dowse Art Museum, Lower Hutt

14 May - 14 August 2011

It’s forty years since The Dowse Art Gallery was opened by the Governor General, Sir Arthur Porritt and quickly found its way into the hearts of New Zealanders. 'Ruby: A 40 Year Love Affair with The Dowse' opens on 14 May and showcases a selection of much loved highlights from the collection. It also acknowledges the vision of the six young men who took on the role of Dowse Director. Named for Mayor Percy Dowse and his wife Mary, The Dowse was part of a plan for ‘a progressive and contemporary city’. Significantly, it was Mary, and the Hutt Art Society, who championed the gallery but sadly neither Mary nor Percy Dowse lived to see the doors open.

Along with James Mack, David Millar, Jim Barr, Bob Maysmor, Tim Walker and current director Cam McCracken have all stamped their mark on The Dowse. Ruby, presents a snapshot of the vision of each of the directors and their dedicated teams, with highlights from the collection and stories from each of the four decades. The show includes fine art paintings, jewellery and ceramics by artists as diverse as Colin McCahon, Seung Yul Oh, Humphrey Ikin, Terry Stringer, Warrick Freeman, Gretchen Albrecht and Toss Woollaston.

dowse.org.nz/



Simon Denny in Group Show at Kunsthaus Bregenz
4 May 2011

That’s the Way We Do It

Kunsthaus Bregenz, Austria

16 April – 3 July 2011

Press Release:

Does it really matter whether a work of art is painted, carved in wood, made of found objects, or created on a computer? What difference does it make whether pictorial worlds are newly invented or whether they derive from the cultural memory and the omnipresent image repertoire of our media-driven environment? Spread over the three upper floors of the Kunsthaus, the multifaceted group exhibition That’s the way we do it addresses precisely these highly topical issues. The exhibition includes such prominent artists as John Baldessari, Barbara Kruger, Richard Prince, and Andy Warhol, as well as the world-renowned filmmaker Jean-Luc Godard. The exhibition also gives visitors a chance to discover young artists such as Ei Arakawa, Simon Denny, and Tobias Kaspar, who are exhibiting in Austria for the first time.

Andy Warhol’s oeuvre affords a good example of how a work’s status and interpretation can be influenced by the technique employed in the work. In his early paintings on canvas he introduced the technique of mass reproduction silkscreen printing into the sublime arena of art, decisively contributing as one of the most influential twentieth-century artists to an epoch-making change. Subjects and images from pop culture, politics, and business enter these seminal works by means of the very devices with which they are negotiated and reproduced outside of art. Warhol’s strategy, no less simple than effective, consists in not only translating images from one context to another, but in subject choice, cropping, color changes, and the application of one and the same motif to a single canvas.

Appropriation, recombination, and repetition are distinguishing features of the legendary filmmaker Jean-Luc Godard’s Histoire(s) du cinéma, today acknowledged as a milestone in cinematic history. So far in the German-speaking world (not least because it is over four hours long and of exceptional artistic quality) this film could only be seen at documenta X (1997), and then embedded in a theme evening on ARTE television. Its presentation at the heart of the exhibition gives visitors a rare chance to experience this outstanding work as a big film installation.

Just as Histoire(s) du cinéma turns its back on unitary narrative and straightforward storytelling, so too That’s the way we do it programmatically opposes any notion of a genealogically developing art (history), proposing instead readings that are aware of forward and backward leaps in art (history). The exhibition subtitle reflects this—rather than turn first to the earliest reference point, Andy Warhol, it begins with one of the youngest artists in the show (at the top of the alphabet): Ei Arakawa.

If one looks back over the history of the artistic appropriation of the images circulating in media space, John Baldessari, Barbara Kruger, Richard Prince, and Martha Rosler are clearly among its chief proponents. All of these artists are either represented in the exhibition by early, historically significant works, or they have produced new works expressly for the occasion. By integrating existing political and pop cultural images into their own work processes, these artists have exercised a powerful influence on the stylistic language of the twentieth century. The exhibition demonstrates that appropriation, modification, and reinterpretation in different processes of pictorial invention are attracting more attention than ever amongst the young generation. Moreover, “technique” in That’s the way we do it is not just a practical term, in the sense of a specific type of production, but also, and above all, involves a social attitude towards artistic production.

When Natascha Sadr Haghighian, Can Altay, and Ashkan Sepahvand, for instance, translate a Persian textbook on art instruction into English for the “institute for incongruous translation,” both cultural and political issues play a major role. Begun for the forthcoming dOCUMENTA (13), the project will receive a preview in Bregenz in a specially developed presentation. The works of Danh Vo, consisting of everyday objects and uniting cultural distinctions and autobiographical aspects in atmospherically dense ensembles, have a similar social charge. As well as photographs (Anne Collier), sculptures and/or installations (Simon Denny, Rachel Harrison, Nora Schultz), the exhibition will include several works on canvas, for whose production, despite their often classical appearance, unconventional techniques were used. They were created using an inkjet printer (Wade Guyton), treated with chocolate (Kelley Walker), or acquired their specific shapes thanks to a complex process of scissor cut, transfer, and rotation (Michael Riedel).

Collages and montages utilizing sometimes utterly heterogeneous elements, and the resulting effect of alienation, are an underlying, cross-generational feature that runs through the entire exhibition. The traditional media are not seldom enriched in the process with new, performative, research-based, and sociocritical approaches. That’s the way we do it concentrates on artists whose works stand out for detailed investigation of the meaning of materials and techniques in relation to social, cultural, and economic questions.

www.kunsthaus-bregenz.at/ehtml/ewelcome00.htm



Simon Denny in Based in Berlin, Exhibition of Berlin Contemporary Art
4 May 2011

From 8 June until 24 July 2011, Based in Berlin will show works by some 80 artists who live and work in Berlin. The exhibition will cover the full range of contemporary art practices, from painting and drawing to sculpture, photography, film and video, text and performances to installations. A comprehensive programme of events featuring screenings, performances,
live acts, workshops and debates will form an essential part of the exhibition. “We want to create a spatial and temporal concentration – to condense the many artistic activities and make them accessible to a wide audience,” say the curators.

Since the fall of the Berlin Wall, the German capital has developed into one of the world’s most important locations for contemporary art production. Berlin’s reputation as a creative, cosmopolitan and dynamic city continues to attract many artists from both Germany and abroad. The title based in Berlin refers to the fact that Berlin enjoys great recognition all over the world as an artistic workplace. Many artists have made a conscious decision to live and
work here. “However,” as Fredi Fischli (one of the curators of based in Berlin) pointed out, “they often have their exhibitions elsewhere. It is important to us to make the artists visible here in the city.”

The five curators Angelique Campens, Fredi Fischli, Magdalena Magiera, Jakob
Schillinger and Scott Cameron Weaver have visited hundreds of Berlin-based artists in their studios since November 2010. They became aware of these artists through both active research and submissions to an open call. The decisive selection criteria were that the artists are primarily based in Berlin and are “emerging artists”, meaning they appeared on the scene no more than five years ago. Many of the participating artists are developing new works for
based in Berlin in dialogue with the curators. Production budgets are available for these works. The exhibition will not only show works by artists, but also project spaces, which will present their own programmes in sections within the exhibition. A series of discursive events and workshops will tackle and pursue the many questions that have already been raised in intense discussions with artists, institutions, project spaces, critics and curators. These questions include the situation and role of Berlin art institutions and the production conditions of Berlin-based artists, among many others.

This overview exhibition of contemporary art in Berlin is explicitly aimed at a wide audience. During their studio visits the curators became aware of the empty studio building at Monbijoupark in the Mitte district of Berlin, which is due for demolition, while they were visiting studios. The Mitte Council has provided the building at short notice for interim use until demolition. It is also available for use as a production space by the exhibiting artists until the opening. On from 8 june the studio building will become the central exhibition location,
daily open from 12 pm to 12 am. The exhibition will extend into the Berlinische Galerie – Landesmuseum für Moderne Kunst, Fotografie und Architektur, KW Institute for Contemporary Art, Nationalgalerie im Hamburger Bahnhof – Museum für Gegenwart – Berlin and Neuer Berliner Kunstverein n.b.k.

The Governing Mayor of Berlin, Klaus Wowereit, gave the impetus for the exhibition within the context of the debate on the establishment of a permanent art gallery in Berlin. The exhibition’s advisors are international curators Klaus Biesenbach (New York), Christine Macel (Paris) and Hans Ulrich Obrist (London) who have selected the five young curators who are responsible for the exhibition concept and selection of the artists. Kulturprojekte Berlin is organising the project with the team of advisors and the five curators.

www.kulturprojekte-berlin.de/en/projects/projects/based-in-berlin/based-in-berlin/

www.basedinberlin.com/



175 EAST plays music by...
4 May 2011

14 May 8 - 9.30pm

175 East present their first concert of 2011

With music from:

Lyell Cresswell (Of Whirlwind Underground; Variations on a Theme by Charles Ives)
Ross Harris (The Sleep of Reason....)
Martin Iddon (tu as navre)
James Tenney (Swell Piece)
Brian Ferneyhough (Cassandra's Dream Song)

Tickets on the door only $15/10

www.175east.co.nz



Venetian window for alchemist
26 April 2011

Hany Armanious in The Australian

www.theaustralian.com.au/news/arts/venetian-window-for-alchemist/story-e6frg8n6-1226044633340



Bulls and a piano lead the way to Venice
26 April 2011

Michael Parekowhai in The New Zealand Herald

www.nzherald.co.nz/entertainment/news/article.cfm?c_id=1501119&objectid=10721090



Chris Lipomi, Hollywood Forever One Night Event
21 April 2011

Hollywood Forever Cemetery
6000 Santa Monica Boulevard
Los Angeles, CA 90038
USA

One Night Only, Saturday 23 April 8-11pm



Shane Cotton, Toioho ki Mangere
9 March 2011

2011 Artist in Residence, Shane Cotton

Also featuring Jacob Davey, Rongomaiaia Te Whaiti and Kirsty Theobald, Bachelor of Maori Visual Arts candidates at Massey University's Te Putahi a Toi in Palmerston North.

Opening 6pm, Friday 11 March 2011
Exhibition 12 March - 21 April

Gallery 1 & 2, Mangere Arts Centre – Nga Tohu o Uenuku
Corner Bader Drive and Orly Avenue, Mangere, Auckland



Campbell Patterson at Gertrude Contemporary
9 March 2011

Reason and Rhyme
18.03.11 – 16.04.11

Bringing together ten leading contemporary artists from Australia and New Zealand Reason and Rhyme investigates the urge to structure and channel creative production through systems, grids and frameworks.

The artists in Reason and Rhyme are connected through their use of manifestos, seriality, diagrams and systems, with the exhibition exploring the points where creativity tangles with these parameters, coursing along the edges of grids, and submitting to the regimens of form and the statutes of regulated patterns.

The exhibition will explore the urge to locate oneself within the map or the doctrine, and to impose rules and structures across creative practice. It will investigate how these systematic devices both contain and channel creative enterprise, as well as plotting and contextualising it. Reason and Rhyme investigates how these parameters offer something from which to push up against - a structure to rebel from – when there is nothing left to rebel against.

Through applying ‘objective’ systems over creative processes each of the artists in Reason and Rhyme distinguishes, articulates or uncovers their content. Whether this pull towards systems and frameworks is a by-product of the reduced status of the object in contemporary art, or a result of the general tendency towards deconstruction within creative practice, each of these artists enlists a rigidity to give form to their ideas.

The exhibition features key works by New Zealand artist Julian Dashper, who is well known for his address of the perspectives of distance – geographical and conceptual – and employment of abstraction as a language to reflexively plot his presence within the frameworks of art and its history. Likewise Australian artist Damiano Bertoli draws on a specific period in history – the 1960s – pulling content from this era of turbulent social revolution and anchoring it within infinite yet decontextualising grids.

Wellington based artist Simon Morris employs formal painterly systems for his large-scale wall works that respond to the connotations of a site’s architecture and function. Similarly Mimi Tong’s sculptural reconfigurations of space employ specific formulae and sets of rules that guide the formation of her spatial responses.

Australian painter Jake Walker’s work depicts an uncomfortable collision between surreal subjective landscapes that are then abutted against the formal framing of late modernist architecture. Whereas Australian artist Starlie Geikie uncovers the latent hard-edge Modernist tendencies alive within craft practices such as quilting, crochet and weaving.

This exhibition will be accompanied by artist talks and a forum discussing the relationship between Systems and Creative Production. The outcomes from these discussions will then be employed to form the shape and structure of the second exhibition that opens at ST. PAUL St, Auckland on 29 September 2011. Coinciding with this exhibition in New Zealand we will publish a major exhibition catalogue documenting the exhibitions, discussion process and the final outcomes of this project.


www.gertrude.org.au/exhibitions/gallery-11/upcoming/reason-and-rhyme.phps


This project has received support from Creative New Zealand.



Steve Carr, Viewfinder, 2011 Auckland Festival
8 March 2011

Injecting a touch of dynamic screen-life into downtown Auckland 24 hours a day, 7 days a week, Viewfinder aims to engage the passing public in contemporary moving image culture. Since 2004 Viewfinder has screened works by a wide range of emerging and established New Zealand artists and several international artists.

This specially selected survey for Auckland Arts Festival features playful and compelling works from over 15 artists. Included is a new work by Steve Carr, debuting at Viewfinder during the Festival. Shot during Carr's 2010 residency in Sapporo, Japan it embraces the Lo-Fi genre. A self-portrait performance filmed on his lap-top camera and set to the soundtrack of 1977 Italian horror film Suspiria,

Set in the window frontage of the Central City Library, Viewfinder is an ongoing project curated by the Auckland office of the New Zealand Film Archive.

A special Viewfinder screening will be viewable from the street as a rear projection onto the window of the NEw Zealand Film Archive, Level 1, 300 Karangahape Road.

Auckland Central City Library
Wed 2 March - Sat 9 April 2011
Hours: 24/7
www.filmarchive.org.nz




Simon Denny, ‘Chronic Expectation: CFS/ME Documentary Restoration’
5 March 2011

Simon Denny
‘Chronic Expectation: CFS/ME Documentary Restoration’
Period: March 11 – May 20, 2011
Opening: Friday, March 11, h 19
Hours: 15 – 19, Tuesday – Friday
T293, Via dei Leutari 32, Roma
T: +39 (0)6 83763242, info@t293.it, www.t293.it

For his second exhibition at the gallery, Simon Denny will perform a restoration on a documentary that focuses on a recent debate which featured widely, in mainstream and academic publications form ‘Newsweek’ to ‘Science’ throughout 2009-2011. This debate is centered around speculation over the possible connection between the chameleon-like disease Chronic Fatigue Syndrome or Myalgic Encephalomyelitis a largely unexplained medical condition characterized by pervasive exhaustion and muscle aches, recognized in the mid 1980s, that effects the lives of roughly 17 Million people worldwide, and the newly discovered retrovirus XMRV which has striking structural similarities to HIV. Should this connection be proven it would be a revolution in the understanding of the illusive disease, who's sufferers have long faced skepticism from parts of the medical profession, legislative bodies and workplace management.
 


The exhibition will focus on a number of ‘split-screen prints’ - demonstrations showing dramatic improvements in picture quality - before and after the restoration process. Denny will also present the documentary laid bare in its constituent parts - forming a floor-based timeline of the time-based media dispute. The documentary includes an in-depth look at several publications key in defining the mysterious disease in the popular mind, and a rough lineage of the development of CFS/ME through its attention in print media and popular fiction.
 


Presented alongside the restoration will be several DVD packaging redesigns for the documentary, underlining the outer presentation of this inward disease.
 


“The story of XMRV and chronic fatigue syndrome is unfolding in a uniquely modern way, highlighting the clash between slow, methodical science and a plugged-in world ready to act on a single piece of information.”
 
“This is the breakthrough that we have been hoping for. Now we have scientific proof that this infectious agent is a significant factor in ME/CFS, patients and their doctors will soon have a blood test to verify their diagnosis and provide the answers that they’ve been seeking.”
Annette Whittemore, founder and president of the Whittemore Peterson Institute for Neuro-Imune Disease , in a press release, 8 October 2009
 


“Many times in the history of their field, reported links between a virus and disease have later been shown to be caused by Lab contamination, a phenomenon known as a rumor virus.”
Trine Tsouderos, Tribune newspapers, 20 December 2010
 


“When reviewing a DVD, it can be really tempting to describe it as Other DVD 1 plus Other DVD 2. But even though it's easy and fun to do reviews this way, people get sick of being the audience to this kind of journalism.”
Peter Riggs, Review of reviewing ‘DVD Review’, October 2003
 


Simon Denny (b.1982) is an artist who lives and works in Berlin and Auckland. Recent solo exhibitions include presentations at the Contemporary Art Museum St Louis; Halle Für Kunst, Lüneburg; Artspace, Sydney ( residency and exhibition). Denny has been included in several group exhibitions including ‘Der Western Leuchtet’ Kunstmuesum Bonn, ‘Permanent Mimesis’ at the GAM-Galleria Civica d'Arte Moderna e Contemporanea, Turin and the Sydney Biennial 2008. Denny also recently developed an installation design for the group show ‘Art in the wake of Television Camp’ at the Kölnisher Kusntverein, Cologne and will present a solo exhibition at the Neuer Aachener Kunstverein, Aachen later this month. His work will also be included in a major upcoming group show the the Kunsthaus Bregenz ‘So Machen Wir Es’ focused on appropriation.Trine Tsouderos, Tribune newspapers, 7 Giugno 2010

Chronic Fatigue Syndrome sufferers and their shrine to retroviral immunologist Judy Mikovits, the lead author of the controversial paper on the connection between XMRV and CFS/ME. Trine Tsouderos, Tribune newspapers, 7 June 2010



Jim Allen, Contact 2011, Artspace: 5 March - 21 April 2011
3 March 2011

In 1974 Jim Allen presented the performance Contact at the Auckland Art Gallery.
Contact would come to be acknowledged as a seminal step in the development of a new radical art form in this country, moving away from the static object into live action.
The importance of Allen’s role in New Zealand, as an artist and an educator, can be seen in the work of subsequent generations of artists.

In 2011 Contact will be re-performed at Artspace, infusing new life into this historic work.
At its core Contact speaks about a release from social alienation through collective activity—literally ‘making contact’.
The three elements—Computer Dance, Parangole Capes and Body Articulation/Imprint—deploy formal structures in which the interplay of bodies use movement, form, sound and light to strive for transcendence.


--

Performances at Artspace, 300 Karangahape Road, Auckland


Saturday 5 March, 6pm
Computer Dance

Saturday 12 March, 6pm
Parangole Capes

Saturday 19 March, 6pm
Body Articulation/Imprint


Contact 2011 is presented at Artspace with the support of Michael Lett and the Govett-Brewster Art Gallery.



Simon Denny, 7 Unreachable Elevators Period: March 5 – April 9, 2011
3 March 2011

Simon Denny will show a new project called 7 Unreachable Elevators in IMO’s intimate exhibition space Phonebox. The work consists of a plaque, some tape, some fixing devices and a few small photographs. The artist will be present for the opening.

Simon Denny’s exhibition is the second in a series of alternative solo shows to be presented in Phonebox in 2011. The series is titled ”No Certain Terms” and is curated by IMO artist Torben Ribe. ”No Certain Terms” focuses on artists with complex and not easily classifiable art practices. The peculiar space of the phone booth and its intimate qualities will provide the impetus for these different and varied presentations of artists, for whom the exhibition is often a medium in itself.

Simon Denny (1982 Auckland) has previously had solo exhibitions at Contemporary Art Museum, St. Louis, Halle Für Kunst, Lüneburg, Galerie Daniel Buchholz, Cologne, and Luettgenmeijer, Berlin.

IMO
Ny Carlsberg Vej 68 OG
DK-1760 Copenhagen
Denmark


+45 33797272
info@imo-projects.com
www.imo-projects.com



Simon Denny, Negative Imagineering
3 March 2011

Simon Denny

20 March - 01 May 2011

Negative Imagineering

www.neueraachenerkunstverein.de



Vitamin S, sound performance, trans-cryption, 25 February 6-7pm, Michael Lett
22 February 2011

Please join us for a sound performance by Vitamin S on Friday 25 February 6-7pm
with Ivan Mrsic, Jeff Henderson, John Bell, John Radford and James McCarthy.

An improvisational intervention in the sound-space 'trans-cryption' by et al. which continues through 19 March 2011.

Other Vitamin S collaborations include those with Superflux, Kikiilimikilii and Jacob C Hammes.

Entry is by gold coin donation.

www.etal.name
www.vitamin-s.co.nz



Sriwhana Spong - at Gertrude Street, Melbourne
9 February 2011

Fanta Silver and Song
04.02.11 – 05.03.11

Gertrude Contemporary presents a major solo exhibition by acclaimed New Zealand artist Sriwhana Spong. Bringing together work from across her practice this exhibition reflects the diversity of Sriwhana’s practice, comprising new collages and sculptures along with her pivotal twin-screen work Lethe-wards that premiered at Art Basel, Switzerland in 2009.

Spong’s practice draws on the principles of modernist abstraction, blending and extending it with reference to the body, mythology and dance. This evocative combination transforms abstraction into a kind of Twentieth century sorcery that traverses the precarious edge where the modernist avant-garde reaches to meet orientalism. Central to this exhibition is the major film work entitled Costume for a Mourner. This work re-imagines a dance from Le Chant du Rossignol, a ballet originally created for Sergei Diaghilev’s Ballet Russes by Igor Stravinsky and his collaborator George Balanchine, based on the Hans Christian Anderson tale, The Nightingale. Working from the only remaining artifacts of the ballet – the Stravinsky score, grainy photographs of the dancers and images of the costumes created for the ballet by Henri Matisse – together with strands of rumour, myth and anecdote, Spong creates a film that articulates the metaphysics of her materials. Performed and choreographed by Benny Ord, Costume for a Mourner is at once a dance of mourning for that which has been lost, a celebration of the synthesis between body, costume, image and movement, and an insight into the formlessness of dance,hinting at the worlds beyond the visual.

Spong’s sculptural works draw on both the Euclidean principles of line, as well as the perfect harmonious balance and tilt of dance. Suspended and propped, her sculptural forms are in continual movement. They depict a flowing,dance-like balance that keeps strength and fragility, intimacy and distance, in perpetual harmony.

Likewise in Spong’s collages she distills moments of dynamism and movement - an arm reaching out or tangling limbs - and combines them with geometric shapes and forms. As Spong has stated, “there are no full stops to the body, just lines that go on.” This interplay between geometry and the structured organics of the dancers’ bodies echoes Spong’s earlier film works where shapes were punctured through film stock or film exposed to light, creating a jostle between blocks of form and structure and the flowing movement of film.

Sriwhana Spong was born in Auckland in 1979 of New Zealand and Balinese heritage. Since graduating from the University of Auckland Elam School of Fine Arts in 2001 Spong’s work has been exhibited throughout Australasia and more recently in the USA and Europe. As well maintaining a schedule of solo shows, Spong has participated in exhibitions such as: Art Statements, Art Basel,Switzerland, (2010); For Keeps, Auckland Art Gallery, Auckland; New World Records, Sutton Gallery, Melbourne (2009); Turbulence: 3rd Auckland Triennial, Artspace, Auckland (2007); A Tale of Two Cities, Busan Biennale, Busan (2006); Cultural Futures, St. Paul Street Gallery, Auckland (2005); and Break Shift, Govett-Brewster Art Gallery, New Plymouth (2004). In 2005 Spong was the winner of the Trust Waikato National Contemporary Art Award, in 2007 she completed a residency at Artspace Sydney, and in 2008 she participated in the ISCP Studio Residency Program in New York City.

This project has received support from the National Gallery of Victoria



Hany Armanious - Venice Biennale 2011
14 December 2010

venicebiennale.australiacouncil.gov.au/

Australia's official representation for the Venice Biennale 2011 will feature artist Hany Armanious at the Australian Pavilion in the Giardini. This exhibition will be curated by Anne Ellegood who is based in Los Angeles at the Hammer Museum.

Hany Armanious is a Sydney-based artist best known for his innovative sculptural work. Admired both in Australia and internationally for his idiosyncratic double-take on objects ranging from grand history to the everyday, Hany will be the sole artist exhibiting at the Australian Pavilion in the Giardini at the 54th La Biennale di Venezia.

Hany has exhibited extensively in Australia, USA, New Zealand and Europe. His most recent shows include the Birth of Venus, Foxy Production, as part of New York Gallery Week 2010; the 2010 Adelaide Biennial of Australian Art; Running Man, Galleria Raucci/Santamaria, Italy in 2009, Uncanny Valley, Roslyn Oxley9 Gallery, Sydney in 2009 and The Oracle, Contemporary Art Museum St Louis in 2008.

Hany won the prestigious Moet and Chandon Fellowship in 1998 and has completed residencies in New York and Auckland. His work is held in private and public collections in Europe, USA, Australia and New Zealand.

The exhibition dates for the 54th International Art Exhibition are 4 June 2011 to 27 November 2011, with the vernissage (preview) taking place from 1 - 3 June 2011.



Michael Parekowhai - Venice Biennale 2011
14 December 2010

www.nzatvenice.com/

'On first looking into Chapman’s Homer'

'On first looking into Chapman’s Homer', a sculptural installation by Michael Parekowhai, will be exhibited at the 54th Venice Biennale in the Palazzo Loredan dell'Ambasciatore on the Grand Canal.
The work includes one intricately-carved Steinway concert grand piano and two concert grands fabricated in bronze supporting two cast bronze bulls. On one piano a full-size bull rests on the closed lid with its massive body suggesting the folding forms of landscape. On the other piano the bull is standing firm offering an eye-to-eye challenge for anyone prepared to take a seat at the keyboard. The installation will also feature a figure from the Kapa Haka series and a small bronze olive tree sapling.
The titles of the works that make up the installation are: 'He Korero Purakau mo Te Awanui o Te Motu Story of a New Zealand River' (the carved piano), 'A peak in Darien' (the resting bull and piano), and 'Chapman’s Homer' (the standing bull and piano). 'He Korero Purakau mo Te Awanui o Te Motu Story of a New Zealand River' will be played throughout the exhibition with a programme of special performances planned. If the sculptures are a source of visual surprise for visitors, it is the music that will greet them when they arrive.
Michael Parekowhai sums up: “While the objects in 'On first looking into Chapman’s Homer' are important, the real meaning of the work will come through the music. Just as my work 'Ten Guitars' was not about the instruments themselves but about the way they brought people together, performance is central to understanding 'On first looking into Chapman’s Homer' because music fills a space like no object can.” The overall title for the project is based on the poem ‘On First Looking into Chapman’s Homer’ by the nineteenth-century English Romantic poet John Keats. In this Keats describes a Spanish adventurer climbing to the top of a hill in what is now Panama and looking out over the Pacific to survey its potential riches for the first time.



Jim Allen - Contact
4 December 2010

Govett- Brewster Art Gallery, New Plymouth

Saturday the 11th of December
3.30pm - Computer Dance
6.30pm - Parangole Capes

Sunday December 12
11am - Body Articulation/Imprint

This three part performance Contact by New Zealand artist Jim Allen hasn’t been shown since it was first performed in 1974 at the Auckland City Art Gallery. The work will be reconstructed for the opening of Points of Contact: Jim Allen, Len Lye, Hélio Oiticica, an exhibition that traces the connections between the artists.

Contact is a work in three parts, or ‘performance situations’, titled Computer Dance, Parangole Capes and Body Articulation / Imprint and performed in that order. Although each part can exist in its own right the event only fully works if their performance is seen in sequence. Each part takes about one hour to perform by six performers wearing a minimum of clothing and some donning masks and capes. Connecting the parts are TV screens showing recordings from the last performance so spectators have a visual juxtaposition of live and completed events.

Along with works by Lye and Oiticica, Points of Contact re-assembles for the first time the works of Allen’s Small Worlds 1969, Space Plane 1969 and The Water Pillow 1969. The restaging of Contact will run through the exhibition opening on Saturday December 11 with part one: Computer Dance at 3.30pm and part two: Parangole Capes at 6.30pm and on Sunday December 12 with part 3: Body Articulation/Imprint at 11am.

The exhibition Points of Contact: Jim Allen, Len Lye, Helio Oiticica is curated by Tyler Cann and Mercedes Vicente and is on from December 11 to February 27.



Sriwhana Spong - Dancing Celestial
10 November 2010

Dancing Celestial is a 12th century Indian sandstone sculpture of a dancing woman. Artefact L.1993.88.2, it is the Promised Gift of Florence and Herbert Irving to the Metropolitan Museum of Art, New York. Dancing Celestial was photographed at the museum in June 2010, as part of a new work planned for The Physics Room. However the film was accidently exposed by airport scanners, causing the image to completely disappear.

7 November–19 December 2010
Dancing Celestial
Sriwhana Spong

www.physicsroom.org.nz/gallery/2010/spong/



Eve Armstrong - Letting Space
9 November 2010

An enormous sculpture comprised of the plastic wrapping that surrounds our daily lives, Eve Armstrong's Taking Stock will be a sublime retail display landscape in an empty Wellington showroom. Armstrong's new project sees the collection of clear and milky white packaging to construct a stocktake of retail packaging, creating meaning from what is usually thrown away.

Engaging with all the seductive qualities of retail and advertising display, Taking Stock will use the materials that surround our goods – the sort that you usually have to rip apart to get to the goodies. It addresses the visual techniques used to market and sustain our consumer culture but offers nothing to buy or sell, and no promises or dreams to invest in. Instead, Taking Stock turns the mirror back on the shopper, asking them to rethink the natural and manmade world around them, and be both dazzled and disturbed by its beauty and emptiness.

Taking Stock creates a gap in the realty and consumer market. Providing a pause for us to reflect and take stock, it’s a little breathing space as we head into the crackle and whirl of Christmas shopping and all its attendant packaging.

www.lettingspace.org.nz/eve-armstrong/



The Estate of L. Budd in Wellington
11 October 2010

The Estate of L. Budd
Benefit Table Tennis Tournament

On the Table, Wellington

Opening: Saturday 23 October 2010 4pm

onthetablegallery.blogspot.com
lbuddestate.info




Dan Arps awarded the Walters Prize
9 October 2010

Vicente Todolí, the judge of the Walters Prize has just announced in Auckland that this year's winner is Dan Arps.
Todoli praised each of the finalists as capable of being the winner and gave a smart summary of each one's work. In awarding the prize to Dan he said his work was like seeing 80 worlds in one day.

overthenet.blogspot.com




Split Fountain at the NY Art Book Fair
5 October 2010

Printed Matter presents the fifth annual NY Art Book Fair, November 5–7 at MoMA PS1, Long Island City, Queens. Free and open to the public, the Fair hosts over 200 international presses, booksellers, antiquarian dealers, artists and publishers from twenty countries, offering the best in contemporary art book publishing.

MoMA PS1
22-25 Jackson Ave at the intersection of 46th Ave
Long Island City, NY 11101

Thursday, Nov 4, 2010, PREVIEW, 6pm - 9pm
Friday/Saturday, Nov 5-6, 2010, 11am - 7pm
Sunday, Nov 7, 2010, 11am - 5pm

The NY Art Book Fair is FREE and open to the public.

www.nyartbookfair.com

www.splitfountain.org




Jim Allen - Points of Contact: Jim Allen, Len Lye, Helio Oiticica
30 September 2010

11 December 2010- 27 February 2011
Govett-Brewster Art Gallery
www.govettbrewster.com




Hany Armanious, Simon Denny, Michael Parekowhai - Hayman Collection Volume One
29 September 2010

9 October 2010 – 16 January 2011
Horsham Regional Art Gallery
www.horshamartgallery.com.au

Stephen Bush, Daniel Boyd, Tony Clark, Ricky Swallow, David Noonan, Nick Mangan, Nadine Christensen, eX de Medici, Simon Denny, Michael Parekowhai, Shaun Gladwell, Mike Parr, Gabriella Mangano & Silvana Mangano, Tony Garifalakis, Hany Armanious, Stuart Ringholt, Linda Marrinon, Francis Upritchard, Callum Morton, Daniel Crooks

Horsham Regional Art Gallery will present the inaugural public presentation of The Hayman Collection. This will take place within our new temporary home on Roberts Avenue. The exhibition and the publication Hayman Collection Volume One, this important private collection will be chronicled, motivations and relationships investigated, and what is a private pursuit, shared.
The Gallery is moving. This Art Gallery has moved once before. In 1983 the Wilson Street building opened with the collection of Australian pianist, Mack Jost OAM. Jost’s Collection brought to Horsham a range of Australian artworks that were of a quality that astounded the City of Horsham. Like the Hayman Collection, his was a personal collection, forged by his understanding, and his peers within Melbourne’s creative scene, he lived with it within his home.
Jost’s Collection set the tone for Wilson Street, and formed the basis of our understanding of a modern Australian art practice. The Hayman Collection will allow us to experience leading artists from Australia and New Zealand, and improve our understanding of contemporary art practice. The Hayman Collection Volume One will sound the start of our experimentation at Roberts Avenue.



Michael Parekowhai - Outside In
28 September 2010

3 October - 28 November 2010
McClelland Gallery
www.mcclellandgallery.com

"Outside In" presents a selection of photography, paintings and sculptures by an array of contemporary artists which explore the relationship between interior and exterior, the expected and the unforseen.

Within the gallery space the outside world emerges through the restrained grey tones of the works, and the profusion of approaches to surface. Janet Laurence’s Forensic Sublime: Crimes against the landscape (Styx Forest)2008 explores the ecological devastation wrought on our natural environment, while Michael Parekowhai’s glossy Rainbow servant dreaming 2005 questions reality through referencing Rene Magritte’s hatted figures in his Surrealist painting Golconde 1953. Playing with the nuances of interior and exterior, Robert Hunter’s reductive 3 (09) 2009 requires an extended gaze to reveal the subtle shifting variations of line and tone, whilst Richard Giblett’s Light Export 2007 investigates the constructed modern world through the diminished scale of his illuminated shipping container.




Sriwhana Spong - It happened that
25 September 2010

'It happened that', curated by Charlotte Huddleston

St Paul Street Gallery
1st - 29th October, 2010
Exhibiting Artists: Christian Capurro (AU) / Maddie Leach (NZ) / Sean Lynch (IRE) / Sriwhana Spong (NZ)

St Paul St Gallery
www.stpaulst.aut.ac.nz



Simon Denny - Forbidden Love: Art in the Wake of Television Camp
25 September 2010

Forbidden Love: Art in the Wake of Television Camp

Kölnischer Kunstverein
25.9.- 19.12.10
www.koelnischer-kunstverein.de

Judith Barry, Joseph Beuys, Paul Chan, Mel Chin and the GALA Committee, Jaime Davidovich, Simon Denny, Kalup Linzy, Christoph Schlingensief, Ryan Trecartin, Francesco Vezzoli, Andy Warhol



Simon Denny - More Pricks than Kicks
23 September 2010

The David Roberts Art Foundation is pleased to present More Pricks Than Kicks, an exhibition co-curated by DRAF's director Vincent Honoré and artist Patrizio Di Massimo. Exploring indexical motifs such as the dissolution of language, the theatricalised body and the "breakdown" of an image, the project questions how a notion such as "exhaustion" can be formally enacted.

With Paul Chan, George Condo, Keren Cytter, Simon Denny, Patrizio Di Massimo, Simon Fujiwara, Amy Granat/Cinema Zero, Thomas Houseago, Bethan Huws, Nathaniel Mellors, Laure Prouvost, Pietro Roccasalva.

Exploring indexical motifs such as the dissolution of language, the theatricalised body and the “breakdown” of an image, the project questions how a notion such as “exhaustion” can be formally enacted.
Language informs many of the works on view. Abused and manipulated to the point it cannot be conceived even as an imperfect tool for communication, language is characterized by collapses, stammers, fragmentations, collages, ellipses, mixed idioms or unknown tropes. This peculiar manipulation forces language to its dissolution. The same is applied to the body. Choreographed, distorted and fragmented, this “anxious” body manifests the convulsive aspects of the human condition through the burlesque. Body and language can only be overtly theatricalised for them to reflect any intimate existential needs (creativity, History, history of art, decay, religion, eroticism, etc.). "The work of art for those who use it, is an activity of unframing, of rupturing sense, of baroque proliferation or extreme impoverishment which leads to a recreation and a reinvention of the subject itself." (Felix Guattari in Chaosmosis)
Such (mis)treatments of language and body naturally lead to the image’s breakdown. Because the works “take by force a structure that was on the verge of asserting itself” (as Felix Guattari wrote on George Condo’s paintings in an early text, 1990), they generate disquieted and often humorous images: incongruous, absurd, anachronistic, kitsch, regressive or hybrid works. It is through this methodical and rhizomatic manipulations, borrowing of classical codes in an iconoclastic approach, that the works eventually address a crisis of the standard representative modalities, and of creation itself.
More Pricks Than Kicks borrows its title from the first book published by Samuel Beckett. This collection of short proses, in particular their witty and dry humour together with the formal qualities of Beckett’s style (as analysed by Gilles Deleuze in his essay The Exhausted), confers its tone to the exhibition. More Pricks Than Kicks intends to create a platform to question creation in its more sinister quality, contemporary time in its less graspable entity. The works are not fixed proposals but active processes: exhausted since themselves are necessary failed attempts to exhaust a form, a medium, a system, a notion. Their linked dynamic is formed by a methodical crisis that cultivates accidents, a crisis that accepts exhaustion as the paradoxical core of any creative dynamic.

www.davidrobertsartfoundation.com



A Rock That Was Taught It Was A Bird
21 September 2010

Dan Arps (NZ), Kim Beom (Korea), Layla Rudneva-Mackay (NZ) and Koki Tanaka (Japan/US)

16th October - 20th November 2010
opening 15th October

Artspace
Level 1, 300 Karangahape Road
Newton
Auckland




Publication Launch
17 September 2010

Michael Lett is pleased to announce the release of two new publications, Modern Arrangements: Dan Arps & The Estate of L. Budd and Boy: Matt Ellwood

A launch will be held at D.O.C, 352 Karangahape Road
Wednesday 22 September 2010 6pm–8pm

--

Boy: Matt Ellwood, has been supported by Creative New Zealand and Whitecliffe College of Arts and Design

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For orders, retail or trade enquiries please contact:

Michael Lett
478 Karangahape Road
PO Box 68287 Newton
Auckland 1145
New Zealand
P +64 9 303 4211
F +64 9 303 4210
publications@michaellett.com
www.michaellett.com




Sriwhana Spong
14 September 2010

Martin Beck, Nina Beier, Luca Frei, Sriwhana Spong, Pernille Kapper Williams

16 September – 13 November 2010
Project Arts Centre
39 East Essex Street
Temple Bar
Dublin 2, Ireland

www.projectartscentre.ie

www.e-flux.com/shows/view/8575





S/F at the 2010 New York Art Book Fair
7 September 2010

S/F is pleased to be participating in the 2010 New York Art Book Fair

November 5-7, 2010 / Preview November 4
MoMA PS1 Contemporary Art Center

www.nyartbookfair.com
www.splitfountain.org





Derek Henderson
23 August 2010

Mercy Mercer
Jen Bekman Gallery
6 Spring Street
New York City 10012
www.jenbekman.com

Opening reception: September 10, 2010 6–8pm
The show will run September 11 – October 24, 2010




Sriwhana Spong
13 August 2010

Scene Shifts
Bonniers Konsthall
www.bonnierskonsthall.se
29 Sep 2010 – 9 Jan 2011

Bonniers Konsthall’s main autumn exhibition is the group show Scene Shifts – a meeting between art and theatre. The exhibition is a unique collaboration with Dramaten& (Royal Dramatic Theatre) and joins leading international artists with Sweden’s best known actors. During three intense months, the exhibition will continuously give rise to new works and performances – both in Bonniers Konsthall’s galleries at Torsgatan and on Dramaten’s stages at Nybroplan.

Scene Shifts will discuss the interest for theatre displayed by contemporary artists. The exhibition presents works by 15 artists who work in the interface of performance, theatre, film, sculpture, painting and drawing. The participating artists come from different parts of the world and they all belong to a new generation of internationally renowned artists. In collaboration with Dramaten actors including Björn Granath and Johan Rabaeus, the artists will create works especially for the exhibition at Bonniers Konsthall and Dramaten.

In Scene Shifts, mechanical theatre meets musical movies, and cutting-edge contemporary art walks hand in hand with Shakespeare. Artist Pablo Bronstein, in collaboration with three Dramaten actors, will produce a performance with tragic endings borrowed from world drama, while artist Kirstine Roepstorff will use well-known voices in her installation Silent Theatre. As a part of the exhibition, artist Ylva Ogland’s version of Ingmar Bergman’s model of Dramaten’s main stage will be shown. For the exhibition, the artist will also produce a gigantic puppet that will dance on the national stage. In addition, we will be treated to Ragnar Kjartansson’s vocal items à la Frank Sinatra and Gabriela Fridriksdottir’s dreamy dance performance.

The exhibition aims to be a space that enables an encounter between contemporary art and theatre. Here, artists who work with changing and mobile works, which do not fit into traditional exhibitions, will be provided with an opportunity to be seen and find their audience.

Contemporary art’s interest in the theatre may be seen as a reflection of our time, when the guiding principle of culture is visibility and spectacle. However, the participating artists’ theatrical experiments are also about opening a door to fiction’s possibilities, providing the dramatic art with a space for a play of identities and roles, exploring the unique presence of physical bodies, words, gestures and movements.

The exhibition will be constantly changing and offer new performances and shows, both at Bonniers Konsthall and at Dramaten. A full programme with a complete list of participants will be presented in the autumn.

The collaboration between Bonniers Konsthall and Dramaten& started already in autumn 2009 with the artist Aurélien Froment’s well-received performance Le chiffre à la lettre (Code Countdown) in which the actor Johan Holmberg played the single role. The intensified collaboration of Scene Shifts began on 17 March this year with the seminar Samtidskonst på scen (Contemporary Art on Stage).

Participating artists
Pablo Bronstein (Argentina), Miriam Bäckström (Sweden), Keren Cytter (Israel), Inci Eviner (Turkey), Gabriela Fridriksdottir (Iceland), Ragnar Kjartansson (Iceland), Ylva Ogland (Sweden), Christodoulos Panayiotou (Cyprus), Lili Reynaud-Dewar (France), Pietro Roccasalva (Italy), Kirstine Roepstorff (Denmark), Markus Schinwald (Austria), Sriwhana Spong (New Zealand), Catherine Sullivan (USA), Ryan Trecartin (USA)



Campbell Patterson at the Melbourne Art Fair
3 August 2010

Artspace is the leading platform for contemporary art in New Zealand Aotearoa. Artspace is dedicated to commissioning and presenting new ideas in art and culture. Artspace is artist-centred, and aims to facilitate and resource artistic inquiry within a creative, critical and non-commercial environment. Alongside a commitment to artists Artspace endeavours to operate as a cultural hub; fuelling active engagement at a national and international level for a diverse range of communities.

For Melbourne Art Fair 2010 Artspace has commissioned new projects by two New Zealand artists who work across a range of mediums: Campbell Patterson and Seung Yul Oh.



Eve Armstrong
30 July 2010

The Woods that See and Hear

Dertien Hectare, The Netherlands.
30 May - 11 July 2010

Eve Armstrong investigates notions of progress and value within everyday life, with specific attention to unwanted materials. She often works with discarded or defunct objects and explores systems of exchange and bartering.
Armstrong took the history of the dertien hectare site and its surroundings as a starting point for the development of her new work ‘Turn’. Of particular interest during her research were photographs documenting the transition period from farm to forest that showed a large pile of rubble made from the demolished farm buildings, which sat on the property for many months.
‘Turn’ is in some ways a re-enactment of this former ‘mountain’, yet it also stands as a monument to an important moment in recent agricultural history, where landscapes and communities that have been based on farming for generations are reinventing themselves. The work also playfully references archaeology and the connection of artificial mounds to middens and burial sites.

www.dertienhectare.nl/?p=182&lang=en#more-182



Upcoming Publication - Julian Dashper, This is not writing
29 July 2010

'This is not writing' brings together for the first time the writings of the great New Zealand artist Julian Dashper (1960-2009). As an artist and writer he was deliberate as nature, and this body of work represents a parallel to his ongoing consideration of painting practice in the aftermath of modernism.

Throughout his career as artist and educator, Dashper wrote, assiduously, in a range of forms as particular as the matters he explored – by no means limited to art – but he always insisted he was an artist not a writer. His writing voice is calmly curious, circumspect, wryly humorous, and, in form, his writing ranged from essays to interviews, meanderings and lists.



S/F at the 2010 Tokyo Art Book Fair
24 July 2010

S/F is is pleased to be participating in the 2010 Tokyo Art Book Fair representing Narrow Gauge Publishing, Michael Lett Publishing, Clouds, and selected artist editions. S/F will also take part in the parallel exhibition '9 Fine Local Bookstores'.

THE TOKYO ART BOOK FAIR 2010

July 30th (Fri), July 31st (Sat) & August 1st (Sun)

Fair Hours: 11:00 – 19:00 (July 30th and 31st), 11:00-18:00(August 1st)

3331 ARTS CHIYODA 6-11-4 Sotokanda Chiyoda-ku, Tokyo.
VACANT 3-20-13 Jingumae, Shibuya-ku, Tokyo.



Simon Denny at Kunstmuseum Bonn
3 July 2010

The Luminous West
10 July – 24 October 2010

Kunstmuseum Bonn
Friedrich-Ebert-Allee 2
53113 Bonn, Germany
www.kunstmuseum-bonn.de


Artists:
Thomas Arnolds, Bernd & Hilla Becher, Joseph Beuys, Anna und Bernhard, Johannes Blume, Tony Cragg, Martina Debus, Simon Denny, Chris Durham, Claudia Fährenkemper, Isa Genzken, Andreas Gursky, Natascha Sadr Haghighian, David Hahlbrock, Georg Herold, Benjamin Houlihan, Bernd Kastner, Christian Keinstar, Jürgen Klauke, Imi Knoebel, Erinna König, Gereon Krebber, Ursula Neugebauer, Marcel Odenbach, Albert Oehlen, Blinky Palermo, Michail Pirgelis, Sigmar Polke, Gerhard Richter, Ulrich Rückriem, Thomas Schütte, Katharina Sieverding, Rosemarie Trockel, Timm Ulrichs



2010 Walter's Prize
3 July 2010

Michael Lett congratulates Dan Arps and Fiona Connor, finalists for the 2010 Walters Prize:

Dan Arps: Explaining Things shown at Gambia Castle, Auckland (7-24 December 2008)
Fiona Connor: Something Transparent (please go round the back) shown at Michael Lett, Auckland (15 April - 16 May 2009)

Exhibition:
24 July - 31 October 2010
Auckland Art Gallery
10am to 5pm
Corner of Wellesley and Lorne Streets
Auckland



Frieze Art Fair 14-17 October 2010
27 April 2010

Michael Lett at Frieze Art Fair
Stand H12
Showing: Hany Armanious and Simon Denny

www.frieze.com



Steve Carr JENSYS Program
27 April 2010

Steve Carr leaves for Japan this week to take up The Jensys Program 3 month residency in Sapporo.




Art 41 Basel, 10-16 June 2010
27 April 2010


Sriwhana Spong at Art Statements
Hall 1 / Stand 7

www.art.ch




Eve Armstrong
21 April 2010

After

21 April-23 May

Opening Preview 5.30pm, Tuesday 20th April

The Physics Room
Second Floor
Old Central Post Office Building
209 Tuam Street
Christchurch

Adapting, extending and revaluing common surpluses and discards, Eve Armstrong gleans materials from the everyday and sets these objects’ formal and associative weights back in play within the value laden space of the art gallery. Extending a range of interests and concerns first fleshed out during her residency at McCahon House, Titirangi last year, Armstrong presents After, her first solo project for The Physics Room.



Shane Cotton / The Sydney Biennale
16 February 2010

The 17th Biennale of Sydney will be presented free to the public from 12 May until 1 August 2010.

Based on the curatorial theme THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age, recent and new works by Australian artists will be showcased alongside international artists at Sydney’s leading cultural institutions, contemporary art spaces and heritage sites.

The free exhibition is expected to welcome more visitors than ever and audiences of all ages will be delighted, challenged and inspired by the artists and works in this Biennale. Visitors can walk from venue to venue along Sydney Harbour’s edge and then take the free ferry to Cockatoo Island. Artist talks, performances, forums, film screenings, family events, guided tours and other special events will be featured throughout the 17th Biennale exhibition period.

Cockatoo Island (in the middle of Sydney Harbour) returns as a major venue in 2010, featuring many new site-specific works created directly in response to the location. The venue will feature works by approximately 50 artists, including Hiroshi Sugimoto, Cai Guo-Qiang, the Tiger Lillies, AES+F, Isaac Julien, Kutluğ Ataman and Brook Andrew.

The Museum of Contemporary Art (MCA) will devote its entire gallery space to the Biennale for the first time. One of the MCA’s largest galleries will be filled with 110 larrakitj (memorial poles) created by 41 Yolngu artists from North East Arnhem Land. Other artists exhibiting at the MCA include John Bock, Louise Bourgeois, Shane Cotton and Angela Ellsworth.

Artspace will become the home of SuperDeluxe, one of Tokyo’s leading alternative spaces for experimental music, culture and ideas. SuperDeluxe@Artspace is at once a performance venue, art gallery, bar and club, featuring a sensational line-up of Japanese performers, improvised collaborations with local artists and PechaKucha nights.

The Sydney Opera House will host an ephemeral work by Jennifer Wen Ma and performances by Finland’s Mieskuoro Huutajat (Shouting Men’s Choir).

Pier 2/3 will premiere a new installation by Paul McCarthy, while Fiona Hall will create a new work for the Royal Botanic Gardens.

The Art Gallery of New South Wales, due to gallery renovations, participates as a supporting venue in 2010 exhibiting Biennale works in the Grand Court. Artists will include Hisashi Tenmyouya and Wang Qingsong.

The 17th Biennale of Sydney will be dedicated to the life and continuing influence of Nick Waterlow OAM and the Biennale’s keynote address from hereon will be named in Nick Waterlow’s memory.



Seraphine Pick
5 February 2010

City Gallery, Wellington
20 February – 16 May 2010

Seraphine Pick is one of New Zealand’s most highly regarded painters: her distinctive and imaginative practice has become increasingly familiar to many New Zealand audiences since the early 1990s. Christchurch Art Gallery Te Puna o Waiwhetu presents Seraphine Pick, a large scale survey exhibition featuring works made between 1994-2009.

This exhibition traces the artist’s ongoing explorations into the imaginative realm, identity, memory, sexuality, and will unveil several new works. Seraphine Pick is both a long-overdue survey of a formidable New Zealand artist, and a chance to consider the development of her unique symbolism in the light of recent work. Curator Felicity Milburn has developed an exhibition that highlights recurrent threads in Pick’s practice, anchored by three themes: memory, identity and fantasy. The exhibition will be structured around these themes, between which there are many overlaps and points of connection.

Seraphine Pick will comprise 80-100 paintings, and a small selection of works on paper from throughout the artist’s career. It will be accompanied by a large, richly illustrated publication produced by Christchurch Art Gallery, featuring essays by the curator and Lara Strongman alongside shorter texts on individual works. This exhibition will come to City Gallery Wellington direct from Christchurch Art Galley, where its opening season runs from 24 July – 22 November 2009.



Dan Arps, The Estate of L. Budd
5 February 2010

Unpacking My Library
Te Tuhi, Auckland
13 February 2010 - 11 April 2010

Unpacking My Library considers the act of collecting. Utilising twentieth century media theorist Walter Benjamin's text of the same title as a point of departure, Unpacking My Library seeks out expanded approaches to collecting. Like Benjamin's text, the exhibition takes interest in the process of collecting, as much as the content of a collection. Reflecting on his own library, Benjamin draws upon his obsession with collecting books in order to unpack the psychological drives of the collector. He argues that in a detailed collection certain traits of the collector will be revealed. His invitation into his unpacked library is an invitation to enter a collector's mind - to dwell upon what the order and disorder of collections reveals about their gatherers.

The exhibition presents both artists who actively explore collecting as a daily practice and artists who reflect on pre-existing systems of collating and organising objects. Firmly rooted in this former investigation is London based artist Elizabeth McAlpine who's ongoing project Found Time: Big Ben attempts to represent every minute of a twelve hour period through existing postcards of Big Ben. Works that analyse pre-existing collections include Ann Shelton's studies of the Fredrick Butler Archive, Neil Pardington's analysis of public art gallery collections and The Estate of L. Budd as a self-reflective archive, which appropriates the language and the rhetoric of institutional models. For the first time the entire contents of The Estate of L. Budd will be housed in a single gallery which will become a storeroom for a collection still approaching completion.




Michael Parekowhai, Campbell Patterson, Sriwhana Spong
5 February 2010

Unnerved
GoMA, Brisbane
1 May – 4 July 2010

The Gallery presents the second in a series of country-specific exhibition projects focusing on its contemporary collections with ‘Unnerved: The New Zealand Project’.

Holdings of contemporary work from New Zealand have grown rapidly since the early 1990s, partly through increased awareness and interest in the Asia Pacific Triennial exhibitions.

'Unnerved' explores a particularly rich dark vein that recurs in New Zealand contemporary art and cinema. Psychological or physical unease pervades many works in the exhibition, with humour, parody and poetic subtlety among the strategies used by artists across generations and genres.

Major sculptures by Michael Parekowhai, installations by Lisa Reihana and Michael Stevenson and photographic series by Yvonne Todd, Anne Noble and Greg Semu will feature alongside video art by Sriwhana Spong and Nathan Pohio. This exhibition will travel to the National Gallery of Victoria in late 2010.



Feminism Never Happened
26 January 2010

30 January — 27 March 2010

Institute of Modern Art / www.ima.org.au

This provocatively titled exhibition asks us to look at selected work by women artists from Australia and New Zealand as if feminism had never happened. Featuring the work of Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, and Jemima Wyman, it revels in gender archetypes, and features romanticised sex-crime landscapes, twisted glamour photography, appropriated pornography, a pagan Eden, mixed feelings about haute-couture, a coquettish red-dress performance, and tales of rejection, heartbreak, and true-love.



Derek Henderson, Mercy Mercer
23 January 2010

Michael Lett is pleased to announce the release of Mercy Mercer, a new book of photographs by Derek Henderson.

Copies are now available directly from Michael Lett and selected booksellers. For orders, retail or trade enquiries please contact: publications@michaellett.com or ph. +64 9 303 4211.



Simon Denny, The Perpetual Dialogue
16 December 2009

The Perpetual Dialogue
12 December 2009 – 23 January 2010

Andrea Rosen Gallery
525 West 24 Street
New York, USA

www.andrearosengallery.com/present/



Jacqueline Fraser
25 November 2009

Somatechnics 111
MacQuarie University Art Gallery
16 - 26 November 2009

www.artgallery.mq.edu.au/



Campbell Patterson, Artspace
19 November 2009

Campbell Patterson, "floorshow"

12 December - 27 February

Opening Preview 6.00pm, Friday 11th December

Artspace
300 Karangahape Road, Auckland, New Zealand
www.artspace.org.nz/



Campbell Patterson, APT 6, Queensland Art Gallery
17 November 2009

The 6th Asia Pacific Triennial of Contemporary Art (APT6)

Queensland Art Gallery | Gallery of Modern Art

5 December 2009 – 5 April 2010

Stanley Place, South Bank, Queensland, Australia

Monday to Friday 10.00am - 5.00pm
Saturday and Sunday 9.00am - 5.00pm

qag.qld.gov.au/



Simon Denny, Standard, Oslo
17 November 2009

SIMON DENNY
"CELEBRITIES’ HOUSES AT NIGHT: A PROJECTION"
13.11.2009-13.12.2009

STANDARD (OSLO)
HEGDEHAUGSVEIEN 3
N-0352 OSLO

+47 22 60 13 10
+47 22 60 13 11
INFO@STANDARDoslo.NO
WWW.STANDARDoslo.NO




Hany Armanious, Raucci/Santamaria, Italy
17 November 2009

Hany Armanious
“Running man”

29 October - 23 December 2009
Galleria Raucci/Santamaria


Corso Amedeo di Savoia, 190 - 80136 Naples
Italy
www.raucciesantamaria.com



Diena Georgetti, Cubism & Australian Art
13 November 2009

Diena Georgetti's paintings will feature in a new exhibition at the Heide Museum of Modern Art: Cubism & Australian Art

24 November 2009 - 8 April 2010

Heide Museum of MOdern Art
7 Templestowe Rd, Melbourne
Australia
www.heide.com.au



Steve Carr, The Naked & The Nude
13 November 2009

Steve Carr's work will feature in a new show at Christchurch Art Gallery: The Naked and the Nude

18 December 2009 - 18 April 2010

Christchurch Art Gallery
Te Puna o Waiwhetu
Crn Worcester Boulevard and Montreal Street
Christchurch



Oubliette
10 November 2009

Dan Arps, Campbell Patterson, Sriwhana Spong

OUBLIETTE
On the Table, Wellington

Opening: Thursday 19 November 2009 at 6pm

onthetablegallery.blogspot.com/



Derek Henderson & Michael Parekowhai
6 November 2009

THE DEPARTMENT STORE, Takapuna

Open to view on level 2, from 7 November 2009
Monday - Saturday 9-5pm






Paul McCarthy, Black and White Tapes, 1970-1975
6 November 2009

Screening: Wednesday 4 November 6pm

Paul McCarthy
Black and White Tapes
1970-75, 32:50 min, b&w, sound

This compilation of thirteen early black and white performance tapes from the 1970s reveals the nascent development of the themes, the raw physicality, and the performance personae that mark McCarthy's well-known later works. In several pieces, McCarthy uses his own body as a tool to examine the process of making art: He becomes a human paintbrush as he drags himself across the floor while holding an open can of white paint; he violently whips the walls and pillars of his studio with a large paint-soaked sheet. Often the artist uses his naked body, body parts, and body fluids in conceptual exercises. These performative acts can be overtly confrontational, as when he repeatedly spits directly onto the camera lens. Other pieces involve more subtle contradictions and inversions of objects, motion, light and shadow.

Image courtesy of EAI, New York




Simon Denny, Deep Sea Vaudeo, Galerie Daniel Buchholz, Cologne
18 August 2009

Simon Denny
"Deep Sea Vaudeo"

Galerie Daniel Buchholz
Elisenstraße 4-6
50677 Köln, Germany

September 4th 2009 - October 31st 2009
Opening reception on Friday September 4, 2009 7:00 - 9:00 pm

www.galeriebuchholz.de/



Kind of Blue, DPAG, Dunedin
18 August 2009

Kind of Blue: new acquisitions and loans

including work by Campbell Patterson, Juliette Blightman and Martin Creed

29 August - 6 December 2009

Dunedin Public Art Gallery
30 The Octagon
Dunedin 9016, Otago

dunedin.art.museum/




Chris Lipomi at JMoCA
4 August 2009

Justin's Museum of Contemporary Art
2335 Silver Ridge Ave.
Los Angeles CA 90039
www.jmoca.info

Opening reception, Friday August 7th




Steve Carr, From the Depths of Suburbia: photo-media from Auckland
25 July 2009

25 July 2009 - 27 September 2009

Edith Amituanai, Steve Carr, Conor Clarke, Sam Hartnett, Geoffrey Heath, Ava Seymour, Yvonne Todd

te tuhi
13 Reeves Road, Pakuranga,
Manukau City,
Aotearoa New Zealand
Tel: (64 9) 577 0138




Michael Parekowhai, Seldom is Herd
25 July 2009


Michael Parekowhai
Seldom is Herd
Until 15 August 2009

Roslyn Oxley9 Gallery
8 Soudan Lane
(off Hampden Street)
Paddington NSW 2021
Sydney Australia
www.roslynoxley9.com.au



Seraphine Pick, Christchurch Art Gallery
23 July 2009

23 July - 22 November 2009

Christchurch Art Gallery Te Puna o Waiwhetu
Open 10am to 5pm daily. Late night Wednesday until 9pm.
Worcester Boulevard, Christchurch.



Eve Armstrong, Secondlife, Pataka
27 June 2009

SECONDLIFE
Five Artist projects
Eve Armstrong, Judy Darragh, Niki Hastings-McFall, Joanna Langford and Peter Madden
27 June - 11 October 2009

PATAKA
cnr Norrie and Parumoana St
PO Box 50 218
Porirua City

Opening Hours:
Mon to Sat 10am - 4:30pm
Sunday 11am - 4:30pm



Michael Parekowhai, One Day Sculpture, 28 May 2009
28 May 2009

Michael Parekowhai
Yes We Are
Thursday 28 May 05.00 - 22.00
Multiple locations across Wellington

Public discussion
Friday 29th May 17.30-17.00
4B06, Massey Univeristy

www.onedaysculpture.org.nz



Shane Cotton, Auckland Art Gallery
25 April 2009


Picturing History: Goldie to Cotton
25 Apr 2009 - 21 Feb 2010

Auckland Art Gallery
New Gallery
Corner Wellesley & Lorne Streets
Auckland
New Zealand
Open: 10am - 5pm daily




Michael Lett at Auckland Art Fair, 1-3 May 2009
8 April 2009

Presenting work by:
Simon Denny, Shane Cotton, Jim Allen, Colin McCahon
And Michael Parekowhai and Steve Carr in the Sculpture Court



Michael Lett at Liste Art Fair in Basel, 9-14 June 2009
8 April 2009

Presenting work by:
Dan Arps, Diena Georgetti, Campbell Patterson




Hany Armanious, Uncanny Valley at Roslyn Oxley9 Gallery, Sydney
4 April 2009

Until 18 April 2009
www.roslynoxley9.com.au



Simon Denny, 7 Drunken Videos at Luttgen Meijer, Berlin
21 March 2009

21 March - 25 April 2009
www.luettgenmeijer.com



Jim Allen: Poetry for Chainsaws and Hanging by a Thread II
4 March 2009

Published on the occasion of the current exhibition at Michael Lett, Auckland, this new publication features a major essay by Dr. Leonhard Emmerling focused on Poetry for Chainsaws, a seminal work of Allen’s from the 1970s, and the new installation at Michael Lett, Hanging by a Thread II.

Copies of Jim Allen: Poetry for Chainsaws & Hanging by a Thread II are now available directly from Michael Lett and selected booksellers: RRP NZD65.00 (inc. GST) + shipping (where applicable).

For orders, retail or trade enquiries please contact publications@michaellett.com
Ph. +64 (0)9 303 4211 / Fax +64 (0)9 303 4210




Brian Kennon & Chris Lipomi at Mesler & Hug, Los Angeles
4 February 2009

31 January - 27 February 2009
www.meslerandhug.com



Eve Armstrong recipient of 2009 McCahon House Residency
22 January 2009

Michael Lett is pleased to announce that Eve Armstrong has been selected to undertake the McCahon House Residency in 2009.



Simon Denny & Nick Austin at Centre, Berlin
4 January 2009

Simon Denny will present new works alongside Nick Austin in the exhibition 'Aquarium Paintings' at Centre in Berlin.
14 December 2008 - 24 January 2009



Hany Armanious at Front Room, Museum of Contemporary Art St Louis
25 October 2008

4 -23 November 2008

For more see: www.contemporarystl.org/frontroom.php



Simon Denny, Joanne Robertson, Martin Creed at 79a Brick Lane
9 October 2008

WORKS
Friday 17 - 31 October
79A Brick Lane
London E1 6QL



Steve Carr at Silvershot, Melbourne
11 September 2008

Life. Death. Thereafter

Steve Carr, Emily Floyd, Matthew Griffin, Kate Just, Patricia Piccinini

16 September - 4 October

Silvershot, 167 Flinders Lane, Melbourne

Simon Denny & Alexandra Bircken at Ursula Blickle Stiftung, Frankfurt am Main
11 September 2008

Ursula Blickle Stiftung, Frankfurt am Main, Germany

7 September – 19 October 2008

Under the curatorial guidance of Nicolaus Schafhausen and Florian Waldvogel (Witte de With, Center for Contemporary Art Rotterdam), the artists created new works for the exhibition at the Ursula Blickle Stiftung. They are to be representative positions of a comprehensive group exhibition that the curators have developed as a contribution to the 1st Brussels Biennial 2008.






9 August 2008

Simon Denny
Brussels Biennial
19 October 2008 to 4 January 2009

For more see: www.brusselsbiennial.be




9 August 2008

TarraWarra Biennial 2008, Lost & Found: An Archeology of the Present

Eve Armstrong, Hany Armanious and Diena Georgetti are currently exhibiting in the TarraWarra Biennial 2008, Lost & Found: An Archeology of the Present.

1 August - 9 November 2008
TarraWarra Museum of Art, TarraWarra, Australia.

For more info see: www.twma.com.au




9 August 2008

Chris Lipomi will open his second solo exhibition at Mesler&Hug, L.A. in September, 2008

For more info see: www.meslerandhug.com



Dienna Georgetti at MUMA, Melbourne
9 August 2008

Diena Georgetti
The Humanity of Abstract Painting 1988 - 2008

Monash University Museum of Art
2 July 2008 -- 6 September 2008

For more info see: www.monash.edu.au/muma/exhibitions