Solo Exhibition

Mierle Laderman Ukeles at Grazer Kunstverein

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01Maintenance Art Works 1969–1980 – On show until May 19th 2013

This is the very first comprehensive European solo exhibition of the artist’s earlier work. Originally organized in 1998 by Ronald Feldman Fine Arts gallery in New York, the exhibition presents a body of work spanning over a decade of significant production.

In 1969, following the birth of her first child, Ukeles wrote “Manifesto for Maintenance Art” as a challenge to the binary systems of opposition that draw the line between art/life, nature/culture, and public/private. The manifesto proposed undoing boundaries that separate the maintenance of everyday life from the role of an artist in society. Ukeles was interested in how artists could use the concept of transference to empower people to act as agents of change and stimulate positive community involvement toward ecological sustainability.

Grazer Kunstverein
Palais Trauttmansdorff
Burggasse 4
8010 Graz, Austria
Hours: Wednesday–Sunday 11–18h
www.grazerkunstverein.org

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

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Collapse: The Cry of Silent Forms

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BRANDON BALLENGÉE
Collapse: The Cry of Silent Forms
May 5 – June 16

Vertical fall in the Winter call that dances in the spring nocturnal…, 2010/2012 from “A Season in Hell Series, Deadly Born Cry” unique digital chromogenic print 64 x 56 inches In scientific collaboration with Stanley K. Sessions Title from a poem by KuyDelair

Ronald Feldman Fine Arts 31 Mercer Street | New York, NY 10013 | 212-226-3232 | www.feldmangallery.com

Brandon Ballengée, a visual artist and biologist, will exhibit sculptural installations and photographs at Ronald Feldman Fine Arts in his first major solo exhibition in New York.  The exhibition, Collapse: The Cry of Silent Forms, consists of three bodies of work that explore the effect of ecological degradation on marine life and avian and amphibian populations.  Synthesizing scientific inquiry with art-making, Ballengée transforms his field research into metaphors that reduce life to its essentials.

ecoartscotland is a resource focused on art and ecology for artists, curators, critics, commissioners as well as scientists and policy makers. It includes ecoartscotland papers, a mix of discussions of works by artists and critical theoretical texts, and serves as a curatorial platform.

It has been established by Chris Fremantle, producer and research associate with On The Edge Research, Gray’s School of Art, The Robert Gordon University. Fremantle is a member of a number of international networks of artists, curators and others focused on art and ecology.
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Exhibition: Andrea Polli – Breathless

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Turin

28 October 2011 -26 February 2012

Andrea Polli

BREATHLESS

in collaboration with Chuck Varga

From the 28th of October 2011 to the 26th of  February 2012 the first solo exhibition by Andrea Polli takes place in Turin in Italy. Andrea Polli is known as an ecological artist and lives and works in Albuquerque in New Mexico. She presents some of her most meaningful works in collaboration with Chuck Varga at PAV Living Art Park in Turin.

Her exhibition Breathless deals in an innovative way with the comprehension of phenomena like climate change and global warming. In cooperation with scientists, weather experts and climatologists she transforms scientific data in aesthetic experiences through mixed media installations. For example data on urban air pollution is analyzed and different interpretations are offered. She chooses site-specific environmental installations to make invisible effects of climate change visible and tangible for the visitor. Polli also sees signs of cultural change in the climate variations and investigates the impact of the climate on the future of life and on the balance of the whole planet.

The exhibition of the American artist is curated by Gaia Bindi and Claudio Cravero and the opening hours are Wednesday to Friday, 13.00 – 18.00 and Saturdays and Sundays, 12.00 – 19.00.

You can find more info, photo, biographic news and video links about the artist at www.andreapolli.com.
For more information about the exhibition mail to info [at] parcoartevivente [dot] it

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

Who draws the line?

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September, 24th – 30th, 2011

Lecce (Apulia, Italy)

“Who draws the line?” is the title of the first solo exhibition in Italy by the Turkish artist Devrim Kadirbeyoglu, co-produced by Archiviazioni and Ramdom Association.

The exhibition was born as an inner necessity of the artist to represent and communicate the human, financial and social extent problems concerning the Schengen visa requirement for Turkish citizens. This is implemented through a site specific installation which paradoxically becomes itself a mobile project: after having traveled in the Northeast of Italy in search for a context of where to be discussed and presented, subjected to several conceptual and aesthetical elaborations, he finds home at the spaces of Archiviazioni and the Laboratory of Art and Architecture in Lecce. This part of Southern Italy is widely known as land of emigration.

More information: www.archiviazioni.org

Cultura21 is a transversal, translocal network, constituted of an international level grounded in several Cultura21 organizations around the world.

Cultura21′s international network, launched in April 2007, offers the online and offline platform for exchanges and mutual learning among its members.

The activities of Cultura21 at the international level are coordinated by a team representing the different Cultura21 organizations worldwide, and currently constituted of:

– Sacha Kagan (based in Lüneburg, Germany) and Rana Öztürk (based in Berlin, Germany)
– Oleg Koefoed and Kajsa Paludan (both based in Copenhagen, Denmark)
– Hans Dieleman (based in Mexico-City, Mexico)
– Francesca Cozzolino and David Knaute (both based in Paris, France)

Cultura21 is not only an informal network. Its strength and vitality relies upon the activities of several organizations around the world which are sharing the vision and mission of Cultura21

Go to Cultura21

H20 – Preview: Benjamin Lavender

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On May 6, 2011, H20: The Art of Conservation, at the Water Conservation Garden, San Diego, CA, will open to the public. Green Public Art reviewed over 1100 artists portfolios before inviting 14 San Diego artists to participate in the exhibition which offers San Diego homeowners an artistic alternative to incorporate water conservation into their own garden spaces. Green Public Art awarded each artist a mini-grant to develop their site-specific sculptures. In the weeks leading up to the exhibition opening the artist’s concepts will be revealed on this site. Questions? Contact Rebecca Ansert, Curator, Green Public Art at rebecca@greenpublicart.com.

CONCEPT: The Drop (steel barrel rings, plexiglass, approx. 4′ x 4′ x 8′ ht.). When thinking about water conservation, words like recycle, and reuse are commonly associated with it.  The creation of “The Drop” is closely associated to this notion. Made primarily out of reclaimed wine barrel rings, “The Drop”  symbolizes the importance of our most precious resource, water, while emphasizing the importance of using recylcled materials whenever possible. After many years of holding a wine barrel together as the juice ferments, the wine barrel rings are reused again, taking the viewer back to where the whole process started, with water.

ABOUT: Benjamin Lavender returns this year to participate for a third time in SDFAS’ annual sculpture exhibition. He received his Associates of Fine Art from Watkins College of Art and Design and later a BA in sculpture from San Diego State University in 2003. The artist self-describes his work as Abstract Naturism and Industrially-Organic which he defines as the outcome of mimicking nature through intense hours of manipulating metal, concrete, paint and found or reclaimed objects into organically formed art. Lavender recently held a solo exhibition at the Oceanside Museum of Art and installed his largest permanent sculpture Kite of Paradise in the annual Kites over Vista, Vista, CA.

Rebecca Ansert, founder of Green Public Art, is an art consultant who specializes in artist solicitation, artist selection, and public art project management for both private and public agencies. She is a graduate of the master’s degree program in Public Art Studies at the University of Southern California and has a unique interest in how art can demonstrate green processes or utilize green design theories and techniques in LEED certified buildings.

Green Public Art is a Los Angeles-based consultancy that was founded in 2009 in an effort to advance the conversation of public art’s role in green building. The consultancy specializes in public art project development and management, artist solicitation and selection, creative community involvement and knowledge of LEED building requirements. Green Public Art also works with emerging and mid-career studio artists to demystify the public art process. The consultancy acts as a resource for artists to receive one-on-one consultation before, during, and after applying for a public art project.

Go to Green Public Art

Spaghetti Junctions: Christina Hemauer and Roman Keller

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Saturday 16 April to Sunday 29 May 2011

Opening: Friday 15 April, 6.30 – 8.30 pm
Film screening and Q&A with the artists: Saturday 16 April 2.30 pm

Cubitt Gallery presents the first UK solo exhibition by Swiss artists Christina Hemauer and Roman Keller. Through video, sculptural-recreation, text and archive material the artists explore two short-lived experiments with solar energy, both marking points of change or crisis in the history of oil consumption.

Sun of 1913 (2009) looks back to the first commercial-scale solar power plant, built in 1913, in Egypt under British mandate, by American engineer Frank Shuman. For a short period solar was the most economical form of power generation, cheaper than shipping coal from Britain. However, the plant ceased operation after one year, when at the onset of World War 1 the British Government began mass-scale crude oil production in Iran, precipitating a widespread turn to oil. The fate of Shuman’s solar plant is told through a narrative written with Egyptian writer Wageh George. A video projection shows two segments of the plant being reconstructed in Cairo by the artists and craftsmen.

A Curiosity, a Museum Piece and an Example of a Road not Taken (2006-2007) investigates former American president Jimmy Carter’s pioneering but ultimately futile energy programme. It culminated in his symbolic solar installation on the White House roof during the 1979 energy crisis, which was removed by the Ronald Regan administration. At Cubitt, Hemauer and Keller focus on the solar installation at the point of greatest potential: its design, construction and ceremonial launch. Archive contact sheets show the panels being installed. Carter’s speech inaugurating them – calling America to break its addiction to imported oil – can be read from a sculptural recreation of a presidential lectern.

Using re-creation and re-enactment to revitalise the optimism of these pioneering projects, Hemauer and Keller also highlight the time that has since lapsed; that these were “roads not taken”. They revisit episodes in the history of oil and solar energy to ask questions about the present energy situation: increased dependence on, and continued conflict over, fossil fuels. Since 2003 the focus of their research-based practice has been the concept of energy as a defining force of modern society, including works and performances that herald the post-petroleum age and map the relationship between the history of energy and modern art.

Christina Hemauer (born 1973 Zurich, Switzerland) and Roman Keller (born 1969 Liestal, Switzerland) live in Zurich, Switzerland. Recent exhibitions include United Alternative Energies, Centre for Contemporary Art, Aarhus, Denmark, curated by Latitudes (2011) and the 11th Cairo International Biennale, Cairo (2009).

Spaghetti Junctions is generously supported by the Arts Council England, Outset Contemporary Art Fund, Pro Helvetia, Solar UK, The Zabludowicz Collection and Matt’s Gallery.
Film screening with artists Q&A – Saturday 16 April, 2.30 pm
A Road Not Taken (2010), 66 mins

This will be the UK premier of Hemauer and Keller’s documentary road trip film A Road Not Taken (2010). The film is structured around the conceptual act of finding and donating two of Carter’s solar panels to American history museums as the “museum pieces” he warned they might become. Through interviews (including with Carter) and archive footage the film investigates Carter’s energy programme in the context of his foreign policy on Iran during the 1979 oil crisis.

——————

 

Judith Carlton

Manager

Curators’ Choice print portfolio 2010

For images or to arrange a viewing, please follow this link: http://cubittartists.org.uk/

 

CUBITT

Gallery and Studios

8 Angel Mews

London N1 9HH

T +44 (0)20 7278 8226

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