Please note

March 11, 2013

Tis blog will not be continued.
Please change to my new website for information and projects:


via artobserved

Art Club 2000, Untitled (Conran’s I) (1993), Courtesy of The New Museum

Experimental Jet Set, Trash and No Star, on view now at The New Museum, is a look 20 years into the not-so-distant-past, using 1993 (and the works produced and shown within that calendar year) as a critical reflection point into recent art history and practice.
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via VernissageTV

DRAFT is the first exhibition of artist Michelle Grabner’s work at Autumn Space Gallery in Chicago. In this show, Michelle Grabner presents five large scale works and an edition. Included in the exhibition are a monochromatic woven gesso relief and a collaborative sculpture with Michelle Grabner’s husband Brad Killam.

Michelle Grabner is a Professor and Chair of the Painting and Drawing Department at The School of the Art Institute of Chicago. She is represented by Shane Campbell Gallery, Chicago and runs The Suburban and The Poor Farm with her husband Brad Killam. She will co-curate the 2014 Whitney Biennial at the Whitney Museum of American Art. Her work is included in the permanent collections at the Walker Art Center, Minneapolis; Museum of Contemporary Art, Chicago; MUDAM – Musée d’Art Moderne Luxemburg; Milwaukee Art Museum, Milwaukee, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC, and the Victoria and Albert Museum, London.

Picket wearing a joke police helmet talking to Police at Orgreave 1984–85 miners strike. Photo © Martin Jenkinson.

via e-flux

Akbank Sanat International Curator Competition 2012′s winning proposal
February 19–April 27, 2013

Akbank Sanat
İstiklal Cad. No:8
34435 Beyoğlu, İstanbul
Hours: Tuesday–Saturday 10:30–19:30h

Curator: Alejandra Labastida

Akbank Sanat International Curator Competition is intended to provide support for emerging curators, reinforce interest in curatorial practices, and encourage new projects in the field of contemporary art. Akbank Sanat is proud to present the exhibition realized by the winning proposal of Alejandra Labastida at Akbank Art Centre, Istanbul.

The Life of Others. Repetition and Survival
“If repetition is possible, it is due to miracle rather than to law. It is against the law… If repetition exists, it expresses at once a singularity opposed to the general, a universality opposed to the particular, a distinctive opposed to the ordinary, and instantaneity opposed to variation / and an eternity opposed to permanence. In every respect, repetition is a transgression. It puts law into question, it denounces its nominal or general character in favor of a more profound and more artistic reality.”
–Gilles Deleuze, Repetition and Difference

Deleuze states that unlike resemblance, repetition is an act that arises in relation only to that which has no equal or equivalent and therefore concerns non-exchangeable and non-replaceable singularities. It is essentially a force that opposes the singular–as a transgression or exception–to the particular capable of being subsumed by laws. This project aims to postulate that the proliferation of artistic practices generated around appropriation and citation strategies—the translation and recreation of historical pieces or events—responds to this force that affirms the political status of the singularity—of the non-replaceable being—versus the domesticated paradigm of the equivalent and interchangeable.

Most exhibitions that explore this tendency focus on the decision that the artist makes from the present in order to rescue specific events and works. This project proposes to extend the question in order to consider not only the recreative will of the artist but also this singular power that wills itself. Walter Benjamin refers to “translatability” as an inherent demand of the original and therefore as the supreme proof of the life of the works of art. The relation between a translation and the original is literally vital: the former emerges as the result of an act of survival of the latter. It is, of course, not just a simple relation of equality and similarity but rather a process of renovation and evolution that unchains the conditions of possibility for a critical reformulation.

This critical process land on different strategies: translations, covers, reprises, recreations, re-appropriations; but what all of them share is repetition as the conduct of a vital relationship with the original. It is not just about postulating a reconstructed and reanimated body, but rather about making it present, for the first time, a second instance; or, as Deleuze proposes, to carry the first time to the “nth” power without having to pass through a second time. These works of art may therefore be inserted into a horizon where mimesis is understood not as representation but rather as a ritualized actualization. Repetition internalizes and therefore reverses itself: … it is not Federation Day which commemorates or represents the fall of the Bastille, but the fall of the Bastille which celebrates and repeats in advance all the Federation Days; or Monet´s first water lily which repeats all the others.Immersed in the apparatus of repetition, the works of the artists in this show reveal a power—a will willing itself despite every transformation and against every law. It is a will that postulates repetition as an essential task arising from the self-determination and freedom of a non-replaceable being.

Artists: Rossella Biscotti, François Bucher, Tania Bruguera, Jeremy Deller, Leticia El Halli Obeid, Jon Mikel Euba, Iain Forsyth & Jane Pollard, Mario García Torres, Sanja Iveković, Martin Jenkinson, Magdalena Leite, Jorge Méndez Blake, Fabio Morais, Vicente Razo, Danh Vo, Ming Wong, Artur Zmijewski.

Eva Hesse, No Title (1965), via Hauser and Wirth

Eva Hesse, No Title (1965), via Hauser and Wirth

via Artobserved

Eva Hesse’s 1965, on view at Hauser and Wirth in London, is a visual representation of a productive period in the late artist’s life.  Named after the formative year in which the pieces on view were created, it reflects the artist’s physical and mental states during this period, a time when she undertook a residency at Kettwig an der Ruhr, Germany.  Living in an abandoned textile factory, Hesse built a new style of working from the sewing machines, fabrics and other cast-off material in her space, simultaneously building a new artistic and personal awareness for herself in the process.
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This video provides you with a walkthrough of Outsider Art Fair 2013 in New York. The fair was founded by Sanford Smith in 1993 and features Outsider, Self-Taught and Folk Art. The first 15 years, the fair was held at New York’s Puck Building. Wide Open Arts, a company formed by art dealer Andrew Edlin relocated the Outsider Art Fair to Chelsea at the site of the former Dia Foundation. Among the participants are mainly galleries from the US, but there are also galleries from Brussels, Tokyo, Lausanne, and London. The 2013 edition ran from January 31 to February 3, 2013 at Center 548 in New York.

A Crime Against Art

February 2, 2013


A Crime Against Art (Madrid Trial)

A film by Hila Peleg
“A Crime Against Art” is a film based on the trial staged at an art fair in Madrid in February 2007 organized by Anton Vidokle and Tirdad Zolghadr. Inspired by the mock trials organized by André Breton in the 1920s and 30s, it playfully raises a number of polemical issues in the world of contemporary art: collusion with the “new bourgeoisie,” instrumentalization of art and its institutions, the future possibility of artistic agency, as well as other pertinent topics.

The trial begins with the assumption that a crime has been committed, yet its nature and evidence are allusive and no victims have come forward. The testimonies and cross-examinations become an attempt by the Judge (Jan Verwoert), the Prosecuters (Vasif Kortun and Chus Martinez), and the Defense Attorney (Charles Esche) to unravel the nature of the puzzling “crime against art.” Set as a television courtroom drama and filmed by four camera crews, the film serial presents a condensed 100 minutes version of the trial.

Anton Vidokle and Tirdad Zolgdhar
Prosecutors: Vasif Kortun and Chus Martinez
Defense attorney: Charles Esche
Judge: Jan Verwoert
Expert witnesses: Maria Lind and Anselm Franke
Artist: Setareh Shabazi
Public: Keti Chukrov and Barnaby Drabble
With special contribution by Liam Gillick.

A Crime Against Art is based on The Trial in Madrid, February 2007
Organised by Anton Vidokle and Tirdad Zolgdhar.

Produced by unitednationsplaza studios, Berlin, 100 minutes, 2007

Hila Peleg