Call for Artists: ESSENCE / BORDERS

Deadline for applications: June 30, 2009

email: lucacurci@lucacurci.com
more:

International ArtExpo is selecting all interesting video/short.films to include in the next 2009 Exhibitions, November 14-16, 2009:

ESSENCE / BORDERS - 5th water homage - Culturagua organization at the Institut Alexander Von Humboldt at Villa de Leyva, Boyaca - Colombia (November 14-16, 2009). The deadline for applications is June 30, 2009.

Culturagua is a non-profit organization. The main goal is to educate and make aware through the arts. In order to do it a large area has been dedicated to educating and informing the wider community. This space is called "Tribute to Water" which has been developed since 2005, with presentations of theatres, music concerts, field trips, environmental conferences, art exhibitions, presentation of videos and documentaries.

The number of works with you can participate is unlimited. All works must be on DVD (PAL or NTSC), no matter what the original source medium. The duration may be any, with a preference given to a max lenght of 15 minutes. If you are interested, send your video submissions (Name/Surname, City/Country, Film title, Running time, Brief film synopsis) with a CV/biography, videography and an introduction about the piece to:

arch. Luca Curci
via Casamassima, 75
70010 - Capurso (Bari) - Italy

International ArtExpo is a not for profit organization that provides a significant forum for cultural dialogue between all artists from different cultures and countries. We depend on the support of you. ArtExpo is grateful to all of the institutions, corporations, and individuals who support our efforts. We work with a number of national and international galleries as well as publishers, museums, curators and writers from all over the world. We help artists through solo and group exhibitions, gallery representation, magazine reviews and advertisements, press releases, internet promotion, as well as various curatorial projects.

Participation open to: professional artists, architects and designers, associate groups and studios.

ZKM opens The Discreet Charm of Technology: Arts in Spain

After a long list of Shanghai earts festival news, seeing how new media relates to creative industry, investment and spectacle(I mean I am really happy to see how they openly ask for sponsorship for Stanley Kwan "s "Yellow River" also noted that the creative industry week that runs along with earts), I would enjoy this kind of academics and cultural exhibition for new media, for a break...from ZKM, well, it is just too long way to go from here to there.

Manuel Barbadillo, Enera, period 1968-1979, acrylic on canvas, 120 x 120 cm,
Jane Weber Collection, © J. Weber.

From ZKM :

Luis Buñuel made more than a hint at his ambiguous, ironic intent when he entitled one of his most memorable films "The Discreet Charm of the Bourgeoisie". Apart from making an acid social critique, the film also shows us the fragile boundaries that exist between different ways of acting on reality.

Exploring the ambiguous relationship between art and technology, this exhibition suggests the existence of another form and another content inherent in the practice of media art. Technology as an instrument gives way to technique as a procedure that artists use to create visual poetics, sensory and formal explorations, and conceptual developments. The discreet charm of media art lies precisely in this potential to blaze new trails.

The exhibition features 119 works produced in Spain and of exceptional aesthetic and historic value. In it, the 13th century is linked to the 21st through a modular approach that focuses on five key themes representative of the artistic condition: the formal code; the visual code; the sensory and space-time code; the body and the identity; and the construction of reality. The accent on Spanish works is not merely a question of geography; rather, the exhibition tries to establish a dialogue between creative practices and artists that had never before been brought together in the same space at the same time.

It is precisely these conceptual links between the works, and not the materials or the chronological connections, which weave the discursive thread in each module. Moreover, by interweaving the five essential themes together, the exhibition generates new narrative itineraries that can stimulate viewers into creating their own personal interpretations.

ACTING ON THE FORMAL CODE

In the Middle Ages, Ramon Llull, an eminent Catalan philosopher, designed a binary and combinatory system for coding language. Conceptually, this was a precursor of today’s binary computer code. His "disc apparatus" was the first attempt to examine the human-machine relationship from the point of view of knowledge automation. Various 20th-century theories based on new technology, such as Cybernetics, also have a bearing on this relationship.

In the 1960s artists who were influenced by Cybernetics, such as Barbadillo or Alexanco, applied combinatorics (the mathematics of combinations and permutations) to their work and used computers and programming — for the first time in Spain — to create artistic forms automatically, paving the way for generative art. The jump from programming computers to reflecting on the art of the code was made by artists such as Leandre and Marino, who investigated programming from the artistic point of view.

ACTING ON THE VISUAL CODE

Instruments for seeing what is not immediately visible have been widely used by science to overcome the limitations of the human eye. Microscopes and microphotography helped Ramón y Cajal, an eminent Spanish scientist, to examine nerve tissue and to formulate his neuron theory, which revolutionised neuroscience. Up to the present day, this theory continues to influence many fields of knowledge, ranging from artificial intelligence and telematic networks to art.

The invisible side of the visible is being explored in art using the latest technology. The new capabilities open up surprising possibilities for perception and for understanding and interpreting the world. Furthermore artists can use them to undertake the journey from the exterior to the interior world. This concept generates new models of visual exploration and changes the way artists work.


ACTING ON THE SENSORIAL [SPACE-TIME] CODE

The analysis of space, time and the position of the spectator were masterfully investigated by Velázquez who knew how to dismantle the dichotomy between fiction and reality and how to go beyond the limits of the canvas. His influence can still be seen today in the works of Dalí, Pujol and Eguillor. The use of audiovisual, IT and telecommunication techniques increases the ways of representing space-time dimensions linked to the construction of reality.

The great achievement of José Val del Omar was to make sensorial signals visible, the immaterial tangible and to give space-time substance. He envisioned cinema as an all-encompassing experience that would communicate with all the spectator's senses simultaneously and called this "plurisensorial supervision". His ideas opened new paths for audiovisual exploration and they have been re-examined by contemporary artists such as Sistiaga, Balcells, and Garhel.

ACTING ON THE BODY'S INTERFACE

The furthest and most intimate recesses of our minds and bodies — our interface to the world — are beyond our reach. Thus, identity is not completely under our control. It is encoded and decoded through deliberate strategies designed by ourselves and by society. This uneasy situation is frequently examined by contemporary art. Perhaps such questions reflect our growing desire to define our place in the world.

The works in this section of the exhibition are different approaches to the various aspects of this situation. They include the role of our bodies in the life-death relationship, interior-exterior worlds; the influence of external conditions on the construction of identity and the way in which gender codes underpin conventional ideas of femininity and masculinity. Other works explore the concept of the body as a place where everything we have experienced is written; the use of masks and unstable identity; and macrostructural control of individuals.

ACTING ON THE REALITY INTERFACE

The notion of reality depends on what is observed and how it is observed. New media are increasingly replacing the in situ experience of reality with prefabricated images of this "reality" on a screen. We humans no longer live exclusively "in" the world or express ourselves "in" language (an essential skill of existence) but "in" images: in the images we make and in the images that we receive through technical media. Fiction and reality are fused together. This process encourages hedonism and fun-morality, which debilitate any sense of justice and equality.

The artists in this section tackle these questions in their work from the perspective of the individual and also of the family (where individuals forge parallel realities). Others make reference to public space or the mass media, where consensus or confrontations arise about the explanation of reality.

Overlapping with Intersections- A Glow Glow

「燈陸．亞高高」聲光互動媒體藝術展將於4月11日隆重揭幕! 來自英國的United Visual Artists及本地LED藝術家Teddy Lo將分別透過作品VOLUME 及稀孔(PHAEODARIA)，為你帶來聽覺及視覺的獨特體驗!! 所有工作坊及座談會報名名額已滿，多謝各位支持!!

* www.microwavefest.net/aglowglow *

日期：2008年4月11至20日
地點︰尖沙咀星光大道及香港藝術館外圍
開放時間：
7:30pm – 11pm（2008年4月11日）
11am – 11pm （2008年4月12至20日）
* 為配合「幻彩詠香江」，展覽於每天8pm-8:30pm暫停運作
* 免費入場

=====================================

“A-Glow-Glow” Macro Interactive Media Arts Exhibition is going to kick off on 11th Apr!! Starring “VOLUME” by United Visual Artists(London) and PHAEODARIA by Teddy Lo(Hong Kong), the two macro interactive media artworks about light, sound, and frequencies will bring you the exceptional audio and visual experiences! RESERVATIONS FOR WORKSHOPS AND SEMINARS ARE ALL FULL!!! Thanks so much for your great SUPPORT!! Don’t miss the exhibition!

* www.microwavefest.net/aglowglow *

Venue: the Avenue of Stars & outside Hong Kong Museum of Art, Tsim Sha Tsui
Date: 11-20 April, 2008
Time:
7:30 pm – 11:00 pm (11 April, 2008)
11:00 am – 11:00 pm (12-20 April, 2008)
* Closed daily at 8-8:30pm due to the Symphony of Lights
* FREE ADMISSION

INTERSECTIONS. 9 artists from 3 places@Gallery Benten 17

INTERSECTIONS. 9 artists from 3 places
Opening Time and Place Date: Friday, April 11, 2008
Time: 6:30pm - 8:30pm
Location: 12 Shing Wong Street
Gallery Benten 17 announces INTERSECTIONS, an inter-cultural art project featuring 9 emerging artists, 3 each from Hong Kong, Japan and Korea.

ARTISTS:
Kwong Yin Brian Hung, Hong Kong
Kira Kim, Korea
Hyungmin Moon, Korea
Yoh Nagao, Japan
Phoebe Junghee Shin, Korea
Yuko Tanaka, Japan
Ali Wong, Hong Kong
Seiji Yonehara, Japan
Samson Young, Hong Kong

INTERSECTIONS attempts to interpret the traditional, cultural and technological influences which are crucial for understanding today’s globalised societies, where identities and social relations are constantly being challenged. This exhibition facilitates the crossing of these paths to allow new connections to be made.

This is the inaugural launch of what will be an annual event featuring artists from these three locations.

www.benten17.com

Tickets are now selling fast for ART HK 08

I heard so many people said they missed Channel Mobile Art because they tickets were ran out. Have you visited Sotheby's 2008 Spring Exhibitions and Auctions at Hong Kong Convention and Exhibition Centre? Don't miss the next big art event in May:

The organisers are pleased to announce the list of 100 leading galleries from around the world who will exhibit at the HKCEC from 14 – 18 May.

See the full list of participating galleries at www.hongkongartfair.com and make sure you book your tickets before 7 May to enjoy 20% discount – HK$120 per person.

High-profile works up for sale include Andy Warhol’s 1962 Avanti Cars from Ben Brown Fine Arts, London worth an estimated HK$29million, Nue aux Bras Elevés from Max Lang, New York and a Damien Hirst offered by Seomi & Tuus, Seoul. Peres Projects from Los Angeles will be exhibiting a solo show of work by controversial artist Terence Koh.

There will also be plenty to offer for those new to buying art and many galleries will be exhibiting accessibly priced works from emerging talent as well as limited editioned works from more famous names.

In addition to the buying and selling, at the heart of the Fair is an exhibition featuring Hong Kong’s most exciting emerging artistic talent. Mirage, curated by Sabrina Fung, who was also responsible for the Hong Kong Pavilion at the Venice Biennale in 2005, looks at the play between illusion and imagination through large-scale installations, videos, sculpture and other works. Featured artists include Homan Ho, Catherine Y M Lee, Esther L M Yip and Wong Chung Yu.

Asia Art Archive (AAA), the non-profit arts education centre dedicated to visual art from the region, is running an education programme during the Fair. ‘Hong Kong Conversations’ is a series of talks by a group of renowned collectors, artists and experts that will include Honorary Patron of the Fair, Sir David Tang. Other speakers include influential Hong Kong-based Swiss collector, Monique Burger, Tobias Berger of Para/Site Art Space, young Hong Kong artists Lam Tung Pang and Chow Chunfai and Elaine Ng, editor of contemporary art magazine ArtAsiaPacific.

Finally, ART HK is pleased to announce its association with SHIFTING SITES: Cultural Desire and the Museum, a one day conference organized by Asia Art Archive and the Chinese University of Hong Kong’s Department of Cultural and Religious Studies which will be held on Saturday 17 May, International Museum Day. A satellite event to the Fair, the conference will address the growing trend among governments, notably in Asia, to allocate major resources towards creating one-stop cultural districts and question whether such fabricated districts can hold their own against the vibrancy of long-established art scenes in cities like London and New York. Speakers include Sheena Wagstaff, Chief Curator of the Tate Modern and Yuko Hasegawa, Chief Curator of Tokyo’s Museum of Contemporary Art. The conference is supported by the Home Affairs Bureau of the Government of the HKSAR and open to the public.

"40+4, Art is not enough! Not enough!"

China!China!China!!!
Chinese contemporary art beyond the global market.
21.03.08- 04.05.08
Opening: March 20th 2008

Daily: 10,00 - 20,00
Thursday: 10.00 - 23.00
Closed Monday

INFO
Fondazione Palazzo Strozzi
www.palazzostrozzi.org

Artists: Cao Fei, Chu Yun, Duan Jianyu, Huang Kui, Kan Xuan, Lothar Spree, Lu Chunsheng, Pak Sheung-Chuen, Ren, Quinga, Shen Shaomin, TsengYu-Chin, Wang Yu Yang, Wu Ershan, Xu Tan, Yang Fudong, Yang jiang group, Zhao Liang

Curated by: Zhang Wei (Guangzhou), Li Zhenhua (Beijing) e Davide Quadrio (Shanghai)

This is a crucial moment in China’s search for cultural identity as it strives to reconcile the weight of tradition, a troubled recent socio -political history and the rapid entry into the western-style global economy. The most visionary contemporary art in China attempts to shape the future in the light of the past... In a very short space of time China is experiencing a process that in Western culture evolved slowly over centuries. But just as the Florentine Renaissance of the fifteenth century led to the emergence of the city by its use of culture as a vital channel of communication modern China is investing extensively in the development of a cultural infrastructure and in its promotion abroad.

The exhibition presents a lively interchange between the curators’ three sections, representing three distinct but complementary attitudes and perceptions.

Zhang Wei, the curator from Guangzhou, in “Throwing Dice”, brings together artists of different backgrounds, training and modes of expression. Zhang Wei presents individual visions of human existence in a fragmented and constantly changing world. The videos of Kan Xuan, Pak Sheung Chuen and Yang Fudong (acclaimed in the most recent Venice Biennale), digital animations by Cao Fei (also present at the Biennale), technological installations by Chu Yun, and paintings by Duan Jianyu offer individual stories that engage the spectator in the exploration of a shared existential landscape and in the constant tension between the world of dreams and of reality.

The installation in the section by Davide Quadrio, a curator in Shanghai for the last 15 years, “Art is not enough, not enough!,” is produced by the CCCS where it will be given its world premiere. The multimedia installation draws on interviews made by the curator with forty artists in Shanghai, who consider questions about the role of the artist, their relationship with the external world, the social consequences of their work and the international market’s effect on traditional modes of artistic production.. This presentation offers a dynamic anthropological insight into the urban panorama of modern Shanghai. (see below for details)

Questions of geo-political identity and cultural relativism are the focus of “Multi-Archeology”, the section curated by Li Zhenhua. Installations by the Mongolian artists Wu Ershan and Ren Qinga, highlight the often conflictual relations between the different cultural groups in China today and pose questions about the undermining of the individual in the face of social upheaval.
Both installations, created especially for the exhibition in Florence, take as their theme the human condition in the face of an uncertain future.
The art video by Zhao Liang and Shen Shaomin documents the situation on the Chinese border with North Korea and Russia. An analysis of the consequences of the Mongolian invasion by Genghis Khan on Asiatic culture is compared to the impact of modern globalisation, in the constant cultural interchange between East and West.


"40+4, Art is not enough! Not enough!"

Concept by Davide Quadrio and Lothar Spree

Interviews by Davide Quadrio and Xu Jie

Questions by: Lothar Spree, Davide Quadrio, Zhu Xiaowen, Huang Kui, Li Xuehui, Zhang Enli, Xu Jie.

Expenditure" - the 2008 Busan Biennale will take place this September bringing approximately 200 artworks from 30 countries

The 2008 Busan Biennale unfolds at the Busan Museum of Modern Art, Gwangalli Beach, and APEC Naru Park between September 6th to November 15th under the theme of "Expenditure." Made up of the Contemporary Art Exhibition, the Sea Art Festival, and the Busan Sculpture Project, the 2008 Busan Biennale will exhibit a distinctive philosophy of "expenditure" and a vivid scene of contemporary art through a variety of artworks including paintings, photographs, videos, installations, outdoor sculptures, etc.

The theme of the 2008 Busan Biennale, "Expenditure," was borrowed from Georges Bataille's discussion. Since it means consumption, release, and exhaustion, and extends into extravagance and reckless expenditure, "expenditure" is a concept contrary to goal-oriented, power-oriented, and phallic economic concepts, such as production, moderation, accumulation, acquisition, regime, control, etc. Though it has political and economic implications, it also has a great deal of implications for the perspectives of aesthetics and cultural criticism. Bataille pointed out that all studies had pursued to understand a society or a culture through the lens of production and accumulation and this had been an attempt to look at the whole from a part of a society or a culture, leading to a half-baked interpretation. According to Bataille, a complete discussion could be produced when we look at a society or a culture through the lenses of spending, consumption, exhaustion, etc., or concepts that are the antipodes of production, accumulation, acquisition, control, etc., that is, concepts employed in existing discussion methods. He asserted that, after all, culture had been maintained through activities deemed meaningless, such as releasing and consuming what was produced and accumulated.

The 2008 Busan Biennale attempts to reinterpret the trends of contemporary art as the aesthetics of "expenditure" through a microscopic lens, as well as to interpret "expenditure" through a macroscopic lens from the perspectives of cultural theories. Differentiating itself from existing biennales, which focus on exhibiting latest art trends "with speed" and "in abundance," the 2008 Busan Biennale seeks to illuminate and predict the latest directions of contemporary art, from paintings to sculptures to videos, under the theme of "expenditure," employing thorough analyses and maintaining critical views.

First, the Contemporary Art Exhibition will unfold at the Busan Museum of Modern Art, Busan Yachting Center, and other places, under the direction of Kim Won-bang, a professor at Hongik University and art critic, exhibiting some 120 works of 100 artists from 20 countries. The Contemporary Art Exhibition, whose theme is "Expenditure, Art, Culture," presents the driver of today's cultural activities through the concept of expenditure, shifting directions from existing production-oriented and appearance-centered values to the disintegration of supernatural values and power of culture.

The Sea Art Festival will be hosted in the Gwangalli Beach, nearby shopping centers, Samik Leports Town, Geumnyeonsan Subway Station, etc. under the direction of Jeon Seung-bo, an independent curator. Some 60 artists from 20 countries will participate in the Festival with 70 artworks. The Sea Art Festival, whose theme is "Voyage Without Boundaries," seems to be in line with the theme of the biennale, "Expenditure," in that the Festival embraces contradiction and paradox as the essence of life, addressing formation and creation.

The Busan Sculpture Project, which is headed by a sculptor Yi Jeong-hyeong, is hosted in APEC Naru Park, inviting 20 works of 20 artists from 15 countries. The theme of the Busan Sculpture Project, "Avant Garden," combined "Avant" from avant-garde with "Garden," which indicates a more private space than a park. Thus, "Avant Garden" implies the intention of transforming everyday spaces into creative ones by combining epistemological and aesthetic notions with ordinary parks.

Busan Biennale Organizing Committee
23rd Floor, Busan City Hall
Yeonsan 5-dong
Yeonje-gu
Busan Metropolitan City
Tel. 82-51-888-6691~9 / Fax 82-51-888-6693
bbiennale@paran.com

CHANEL CONTEMPORARY ART CONTAINER BY ZAHA HADID

One of the most enjoyable part of being a curator for me is the design of the space and the walk through experience. I am so amazed that there will be a soundwalk in this much anticipating monumental art project. Although I had a similar idea before but it was banned due to infringing other exhibited space.

MOBILE ART is a traveling exhibition devised as a three-dimensional film and presented in a futuristic pavilion specially created by the architect Zaha Hadid.

The creative concept of MOBILE ART is the result of an aesthetic experiment conducted over the last two years in which the values and visual language of CHANEL confronted those of some twenty contemporary artists from all geographic and generational origins.

Invited to visit Mademoiselle Chanel's Parisian apartment, rue Cambon, and the workshops where the CHANEL handbags are made, these artists were given complete freedom to create artworks inspired by the elements that create the identity of CHANEL's emblematic accessory, the quilted bag.

All means of expression currently being used in contemporary art will be represented: installation, sculpture, photography, video, sound etc...

MOBILE ART is not so much an exhibition to be visited as a landscape to wander through in a completely new way: to experience the artists' installations, visitors equipped with a MP3 player must let themselves be guided mentally and physically by a soundtrack created by the label "Soundwalk" in collaboration with each of the artists. This soundtrack mixes the original music of a diverse range of artists with voice and ambient sound effects.

MOBILE ART is above all a new form of artistic expression, an unique experience, combining architecture, art, sound creation and fashion.

For more information, please visit www.chanel-mobileart.com

VENUE:
Star Ferry Car Park – Central, Hong Kong

EXHIBITION PERIOD:
27 February – 5 April, 2008

美丽新世界：当代日本视觉文化

from http://www.beautifulnewworld.info/cat/documentation/
★美丽新世界★：当代日本视觉文化
Beautiful New World: Contemporary Visual Culture from Japan
美丽新世界：当代日本视觉文化
　　　　
展览日期：2007年12月25日（周二）—　2008年1月20日（周日）
开馆时间：9:00-17:00, 周一休息
@ 广东美术馆 （广东广州市二沙岛烟雨路38号 邮编:510105）
电话: 86-(0)20-8735-1468 传真: 86-(0)20-8735-3773
网址: www.gdmoa.org
主办:
日本国际交流基金会, 中央美术学院, 长征空间, 映画廊艺术中心, 东京画廊, 广东美术馆, 广州美术学院
共同主办方: 中国对外文化集团公司
赞助支持： 日本航空、资生堂
合作:日本科学未来馆
video
(第一部分　/　Section1)
Aida Makoto　会田　誠
Exonemo　エキソニモ
Kaneuji Teppei　金氏徹平
Konoike Tomoko　鴻池朋子
Kusama Yayoi　草間彌生
Murayama Ruriko　村山留里子
Nishiyama Minako　西山美なコ
Odani Motohiko　小谷元彦
Okazaki Kyoko　岡崎京子
Paramodel　パラモデル
Sawa Hiraki　さわひらき
SHIMABUKU　島袋道浩
Takamine Tadasu　高嶺　格
Tanaka Koki　田中功起
Ujino Muneteru　宇治野宗輝
Watanabe Go　渡辺豪
Xijing Men (Ozawa Tsuyoshi, Chen Shaoxiong, Gimhongsok)　西京人（小沢剛、陈劭雄、金泓锡）
Yanagi Miwa　やなぎみわ

(第二部分　/　Section 2)
Atelier Bow-wow　アトリエ・ワン 犬吠工作室
doubleNegatives Architecture　ダブルネガティヴス　アーキテクチャー
FINAL HOME　　终极家园
Fuji Hiroshi　藤　浩志
Ryoji Ikeda　池田亮司
Oshii Mamoru　押井　守
Yokoyama Yuichi　横山裕一
National Museum of Emerging Science and Innovation (Miraikan)　日本科学未来館
　　　　
(第三部分　/　Section 3)
Fujihata Masaki　藤幡正樹
Hatakeyama Naoya　畠山直哉
Miyajima Tatsuo　宮島達男
Miyamoto Ryuji　宮本隆司
Ohmaki Shinji　大巻伸嗣
Urasawa Naoki 　浦沢直樹
Yanobe Kenji　ヤノベケンジ
Yoneda Tomoko　米田知子　

From Spark to Pixel. Art + New Media

Venue: Martin-Gropius-Bau
28 October 2007 to 14 January 2008

While I am doing Re:Place, I found this exhibition very interesting, some really inspiring works presented. There will be very little chance that this kind of work will be presented in Hong Kong, because of the scale and our venue management over-consideration on safety too.

The “From Spark to Pixel” exhibition will present developments in contemporary art involving the large-scale use of digital and interactive media. The technical possibilities in this field have given this area of art a more international dimension than that of almost any other. Thus the exhibition will feature works both by renowned and as yet unknown artists and groups of artists from all over the world. Works by pioneers and works that are being shown in Europe or Germany for the first time or have been specially developed for the Martin-Gropius-Bau, will enable visitors to discover spectacular forms of artistic expression and radical changes in perception in the relation between the observer and the moving image. Immersive and interactive approaches feature frequently in the artists’ strategies.

Extended reading : WMMNA pt1WMMNA pt 2

JULIAN SCHNABEL IN HONG KONG 7-24 NOV,2007

Photo taken at Julian Schnabel's exhibition in China Millennium Monument on Sep 12 in Beijing. [Photo: CRIENGLISH.COM]Via

He is considered as one of the youngest contemporary artists in U.S. and Europe. His works have also been collected by almost all the major museums in the world. He is also associated with some of the most prestigious galleries in Europe and U.S, with his works collected by some of the most important collectors too. If you ask the art world to name the top 5 or 10 young artists in west, he is on the top of the list. But he is not just a painter or artist; he has just won the best director in the 60th International Cannes Film Festival for his French movie "Diving Bell And Butterfly." He is Julian Schnabel.

An exhibition covering Julian's best works since 1983 just opened in China Millennium Monument on Sep 12 in Beijing, the first stop for Schnabel's Asian tour before hitting Hong Kong, Shanghai and Seoul.

The exhibition brings the works that represent what Schnabel wants to show the world, particularly to China, says Howard Rutowski from Fortune Cookie Projects, who brought Julian's works to Beijing.Organized by David Tang and 10 Chancery Lane Gallery, and curated by Fortune Cookie Project, an exceptional one-man exhibition by Julian Schnabel in Hong Kong.

The Hong Kong exhibition is from 7-24 Nov, 2007. Opens from 10:30am to 7:30pm.
Venue:
6/F West Warwick House, Taikoo Place
979 King's Road, Island East

Fabrica in eArts Festival

More photos
展览 / FABRICA：睁开的双眼/蓬皮杜中心
策展人 / Marie-Laure Jousset
城市 / 上海
开幕 / 2007年10月19日
展览时间 / 2007-10-19 至 2007-11-11
地址 / 上海市南京西路325号
机构 / 上海美术馆
备注 / 主办：蓬皮杜中心、Fabrica S.p.a研究机构、上海美术馆、上海文化发展基金会
承办：上海东方文化发展中心

2007上海电子艺术节 Shanghai eARTS

Shanghai will host China's first – and the world's largest - eArts Festival this October.
The world's leading arts and media figures will gather in China's most dynamic city to showcase and share the best in digital arts, against the backdrop of Shanghai's vibrant cultural life.
Partners already confirmed include Centre Pompidou, MIT, Ars Electronica and ZKM.



Festival highlights include:

* New Vision E-concert (new commission in association with Ars Electronica, Shanghai Music Conservatory, China Academy of Arts, New Media Arts of Blue Phoenix and Shanghai Kunqu Opera Troupe)
* Interactive art installations across Shanghai
* Giant LED screens on the Bund
* International Opening Forum
* E-music concerts in partnership with ZKM (Centre for Art and Media Kahlsruhe)
* Ars Electronica exhibition at Shanghai Science and Technology Museum
* Fabrica：“Lex Yeux Ouverts”, Centre Pompidou at Shanghai Art Museum
* Open air screenings in Shanghai's parks, including winning films from the International Animated Film Festival in Annecy
* Group shows (in over 10 venues) including Shanghai MOCA Animamix Biennial in Central Shanghai
* Multi-disciplinary Media Lab symposium and exhibition, led by MIT's John Maeda
* "Shanghai - Paris" Animation - the Shanghai students creative program in collaboration with Gobelins film school and Supinfocom, Paris
* Graduate show with works from the New Media Department at the China Academy of Arts - showcasing China's first New Media Art graduates

Taipei, MOCA opens New Media Art Show on 10 Aug 07

必看“美丽新世界 ：日本之当代文化”北京+廣州

“美丽新世界 ：日本之当代文化”将分3个部分展出：1.“美丽的真实世界”，2.“新环境”和 3.“终极世界及未来世界”。这些分支展将透过 ‘美丽’和‘新世界’深层审视国际间的艺术价值体系及创造力。由于这次展览将设在北京并由多个会场组成，多个分支展览的体系及（或）设计将共同促成统一的视觉及空间的完整性。展期间，一些在户外公共空间展出的装置作品也将做为整体战略的分支并以此支持整体计划。

展览地点和时间

北京 2007年9月25日 —— 2007年10月22日（嘉宾前展：2007年9月24日下午5点）

广州 2007年12月25日 —— 2008年1月20日

展览会场

北京 长征空间，东京画廊

中央美术学院（做为研讨会场等）

广州 广东美术馆

广州美术学院（做为研讨会场等）

参展艺术家（未定）

1. 美丽的真实世界 ［北京：长征空间］

这个部分的展览将重新审视“美丽”和“真实”的定义，同时深入观察和研究源于和逐渐背离这两个概念的表达方式。对于“美丽”的定义，展览作品将展示女性时尚当中美的价值观，同时思考不断转变的价值观和从属与美学的感知能力，以及多种多样的甚至相互矛盾的观点。这个部分的展览将同时思考日本传统技艺中的美学在当代艺术作品中的运用。

对于这个系列作品的选择，主办方将基于考察被刻画在日本漫画和动画中的，由性别区分下形成的男孩儿和女孩儿的不同世界、日本独特的“可爱”（kawaii)文化，以及由这些文化促成的高度私人化空间和高度聚焦的个人世界。

[艺术家・作品例]

八谷和彦 Hachiya Kazuhiko ……….jetboard

小谷元彦 Odani Motohiko ……….Wood-curving sculpture / Rompers (video)

会田? Aida Makoto ……….Painting

やなぎみわ Yanagi Miwa ……….Phograph

渡辺豪 Watanabe Go ……….Emo (animation)

小沢剛 Ozawa Tsuyoshi ……….[new commission]

金氏徹平 Kaneuji Teppei ……….[new commission]

島袋道浩 Shimabuku ……….[new commission]

パラモデル Paramodel ……….Installation

田中功起 Tanaka Koki ……….Video installation

エキソニモ exonimo ……….Disorder / tank (installation)

山本高之 Yamamoto Takayuki ……….spoon bending (new lesson)

さわひらき Sawa Hiraki ……….Video

村山留里子 Murayama Ruriko ……….Sculpture/installation

鴻池朋子 Konoike Tomoko ……….Painting

西山美な子 Nishimaya Minako ……….Painting/installation

岡崎京子 Okazaki Kyoko ……….Comic

横山裕一 Yokoyama Yuichi ……….Animation

宇治野宗輝 Ujino Muneteru ……….Rotators (sound installation/performance)

2. 新环境：［北京： Inter Arts Center］

[艺术家・作品例]

池田亮司 Ikeda Ryoji ……….Datamatics (sound /video installation + live)

市川創太 Ichikawa Sota ……….Corpora (architectural space with GPS)

藤幡正樹 Fujihata Masaki ……….off-sense (installation) & workshop

山中俊治 Yamanaka Toshiharu ……….robots

アトリエ・ワン Atelier Bow-wow ……….Manga Pod (installation/furniture)

藤浩志 Fuji Hiroshi ……….Workshop

坂茂 Ban Shigeru ……….Pavilion or extension

3. 终极世界和未来世界 [北京：B.T.A.P]

这一部分的展览作品将体现由社会和城市中的不稳定因素引起的系列问题，例如自然灾害以及一系列对死亡的恐惧。这一切都影射着人类对未来城市空间的启示与抱负，这也根深蒂固于日本的社会与文化。参展作品中还蕴涵着永久和持续的观念。与此同时，这些作品也将透过对建筑和时尚中的生态学观念和对环保的实施的调查，以此来检验人类与城市环境和自然之间的关系。一个视觉感极强的终极世界（世界末日）景观，将由漫画作品被放大后像壁纸一样覆盖在墙壁上来展示。

[艺术家・作品例]

奈良美智＋graf Nara Yoshitomo + graf ……….[new commission]

宮本隆司 Miyamoto Ryuji ……….Kau Lun Shing Chai (photograph)

ヤノベケンジ Yanobe Kenji ……….Atom suits / Viva Riva Project - New Deme-

畠山直哉 Hatakeyama Naoya ……….Zeche Westfahlen I/II (installation)

米田知子 Yoneda Tomoko ……….scene series (photograph)

大友克洋 Otomo Katsuhiro ……….Akira (comic)

富野由悠季 Tomino Yoshiyuki ……….Gundam (comic/animation)

押井守 Oshii Mamoru ……….Tokyo Scanner

大巻伸嗣 Omaki Shinji ……….[new commission]

宮島達男 Miyajima Tatsuo ……….Installation

FINAL HOME FINAL HOME ……….Sculpture/fashion design

户外展览（的可能性）

由于这次展览将由北京的多个会场组成，多个分支展览的体系及（或）设计将共同促成统一的视觉及空间的完整性。想法之一是邀请建筑师坂茂（ Ban Shigeru) 为这三个会厂的正面建造伸展区，以统一展览的主旨。举办方也希望通过这个想法来展现展览第三部分的概念：生态与环保。

另外，在798艺术区的整体布展和对户外公共空间的整体利用，将使由感性划分开来的区域拥有概念上的一致性。

草間弥生 Kusama Yayoi ……….气球

杉本博司 Sugimoto Hiroshi ……….户外大型招贴广告牌

组织体制

主办： 独立行政法人国际交流基金

策展人： 片岡真実（森美术馆资深策展人，日本）

住友文彦（东京现代美术馆策展人，日本）

Kim Sunjung(独立策展人，韩国)

中方展览组织负责人： 李振华（独立策展人，北京）

中方合作方： 各个展览和活动会场

办公室 ：独立行政法人国际交流基金 艺术交流部造型美术科

负责人： 古市保子

Automatic Update, an exhibition of five media installations made since 2000

Cory Arcangel. American, born 1978, Buffalo, Two Keystoned Projectors (one upside down) 2007. Installation projection video. © 2007 Cory Arcangel.

Automatic Update, an exhibition of five media installations made since 2000, features works of art drawn from the technology of the last decade. Employing computers, LCD screens, DVD players, digital video, and user-activated components, works in the exhibition show contemporary artists trying their hands at a range of newly invented art forms. The artists in the exhibition, Cory Arcangel, Xu Bing, Rafael Lozano-Hemmer, Jennifer and Kevin McCoy, and Paul Pfeiffer, make comical and sometimes absurd use of recent technologies while offering lighthearted critiques of today’s society.

The exhibition is on view from June 27 through September 3, 2007, in The Yoshiko and Akio Morita Gallery on the second floor, and is accompanied by a series of related films and videos that will be screened in The Roy and Niuta Titus Theaters from July 7 through September 2, 2007. Automatic Update and the accompanying film-and-video series are organized by Barbara London, Associate Curator, Department of Media, The Museum of Modern Art.

In the 1990s, artists worked in a range of newly invented art forms, often switching from analogue to digital equipment as the technology evolved. They built interactive installations and electronic publishing networks, and made art for the Internet. Technology advanced so quickly that in some cases the platform upon which an art form depended would disappear while a work was being made. By the year 2000, this quasi-revolutionary aura had dissipated, and media art had settled into the mainstream.

Ms. London says, “The wildness of the dot-com era infused media art with a heady energy. Automatic Update is about the vision of art drawn from technology of the last decade. The show features the work of hackers, programmers, and tinkerer-revisionists from North America, Europe, and Asia.”

Cory Arcangel (American, b. 1978) is known internationally for his subversive reworkings of obsolete computer systems. He participates in the artist group BEIGE and the Radical Software Group. This exhibition includes his newest work, on view for the first time, titled Two Keystoned Projectors (one upside down) (2007). It comprises a VCR (video cassette recorder) and two projectors that cast two fields of color and a channel number onto the wall. The work takes into consideration now-dated VCR technology and shows what media art might look like if the engine of consumer innovation had stalled at the development of the VCR.

Xu Bing (Chinese, b. 1955) works in a wide range of media, creating installations that question language and demonstrate how meaning and the written word can easily be manipulated. Here he presents a classroom-like installation, Book from the Ground (2007, work in progress), in which he arranges two desks and a computer against a text panel. Viewers may interact with the icons on the computer screen, using Xu’s sequences of simple images to construct “sentences” from a universal, visual language akin to hieroglyphs. Icons are ubiquitous symbols providing information without words, antidotes to misunderstanding in the enveloping sphere of world languages in the global electronic network. The work plays with the notion of the word “icon,” which in the past referred to objects of worship. Now the word refers more commonly to company logos and the thumbnail images on computer screens that are clicked to activate an application. With Book from the Ground, an ongoing project, the artist intends to foster communication through a common language of icons.

Rafael Lozano-Hemmer (Mexican/Canadian, b. 1967) develops large-scale interactive installations in public spaces, usually deploying new technologies and custom-made physical interfaces that use robotics, projections, sensors, and other electronic devices. Here he offers an interactive installation that is mounted on one wall of the gallery. Titled 33 Questions per Minute (2001–02), it consists of 21 small LCD screens linked together by cables. The cables are connected to a laptop computer that contains a grammatical software program. Viewers are invited to enter questions or words into the computer, which processes them and generates related questions on the screens at the rate of 33 per minute. Words or questions entered by viewers become part of the program’s database, expanding its vocabulary ad infinitum.

The husband-and-wife team of Jennifer McCoy (American, b. 1968) and Kevin McCoy (American, b. 1967) have worked together since 1990 in video, installation, media, and performance. Our Second Date (2004), draws upon Jean-Luc Godard’s film Week End (1967), which the McCoys saw together on their second date. A tabletop installation recreates the car accident scene in Godard’s film in miniature, while six video cameras film the scene from above. The footage is processed by a computer and played back live in both small and large scale in a projection on the adjacent wall.

Paul Pfeiffer (American, b. 1966) uses video, sculpture, and photography in works that dissect the role that mass media plays in shaping public consciousness. In a series of videos focused on professional sports events—including basketball and boxing—Pfeiffer digitally removes the bodies of the players from the games, shifting the viewer’s focus to the spectators, sports equipment, or trophies won. These intimate and idealized video works are meditations on faith, desire, and a contemporary culture obsessed with celebrity. For this exhibition, Pfeiffer deals with the subject of athletic stardom in John 3:16 (2000), an LCD monitor showing a digital video loop of basketballs hovering above the hoop, gleaned from countless NBA games. The title of this work refers to a passage from the Gospel of John in the Bible: “For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.” The conjunction of this religious sentiment with professional sports, and therefore with celebrity, suggests that markers of success often substitute for traditional objects of worship.

The accompanying Web site, www.moma.org/automaticupdate, is designed in a retro, 1990s, pixelated style and includes descriptions of works in the exhibition, interviews with some of the artists, and information about the film program. The site was designed by Matt Owens of Volumeone, New York. It also features a link to the Automatic Update page at http://del.icio.us/Automatic_Update where visitors may view and share bookmarks pertaining to the show.

A film-and-video series features works by video artists and film directors concerned with issues of media and technology. The films and videos will be screened in The Roy and Niuta Titus Theaters on dates between July 7 and September 2, 2007. Organized by Barbara London with Hanne Mugaas, Intern.

Lyotard, Habermas and the Virtue of the Universal

" Bare life/ what to be done "... at the moment the Documenta opens under a double concept remixed from Agamben and Habermas,

here is an international contribution and work from the heart of the civil war in Gaza

by Haidar Eid as professor of English and comparative literature Al Aqsa University

in Nicholas Ruiz III's kritikos http://intertheory.org/

STAR FAIRY 星神僊: Hong Kong in Venice press conference and seminar

This event will introduce the exhibition produced for Hong Kong's
representation at the 52nd Venice Biennale. The artists, Amy Cheung, Hiram To and Map Office (Gutierrez + Portefaix) and curator, Norman Ford will discuss their work and open the floor to questions.
----------------------
Wed, 16 May 18:00 - 19:30 at
the Visual Arts Centre, 7A Kennedy Road, Midlevels, HK

Schedule:
17:30 - 18:00 MEET THE PRESS

18:00 - 19:00 SEMINAR / ARTISTS' TALK
19:00 - 19:30 Q&A / discussion

Enoch Cheung solo show at Art Centre

Bill Viola Creates Work For Venice Biennale

Bill Viola has created a major new work to be presented at the 52nd International Art Exhibition La Biennale di Venezia. Entitled Ocean Without a Shore, 2007, the three-screen High Definition video and sound installation was inspired by its setting – the 15th century intimate Venetian church of San Gallo.

Ocean Without a Shore presents a cyclical progression of images that describes a series of encounters at the intersection between life and death. Located near the Piazza San Marco the church of San Gallo was formerly a private chapel, and Viola directly incorporates its internal architecture into his piece, using the three existing stone altars as video screens.

Of the work Bill Viola states, “Ocean Without a Shore is about the presence of the dead in our lives. The three stone altars in San Gallo become transparent surfaces for the manifestation of images of the dead attempting to re-enter our world.”

“The video sequence describes the human form as it gradually coalesces from within a dark field and slowly comes into view, moving from obscurity into the light. As the figure approaches, it becomes more solid and tangible until it breaks through an invisible threshold and passes into the physical world. The crossing of the threshold is an intense moment of infinite feeling and acute physical awareness. Poised at that juncture, for a brief instant all beings can touch their true nature, equal parts material and essence. However, once incarnate, these beings must eventually turn away from mortal existence and return to the emptiness from where they came.”........

Will this be the reason to Venice? May be not. I think Bill Viola probably represents what Venice Biennale meant for us today.
Long Live Art (market ) and the 20 people that are controlling it. The same will apply here sooner or later.