Jonathan Meese, Arbeitstitel “Weltkrieg 2”, 2008

Today, May 15, at 6 pm, the exhibition FANTOMASSOZ (TEMPIOZ de NEROZ) by Jonathan Meese will be opening at Museo Civico Diocesano in Città della Pieve. Curated by Il Giardino dei Lauri in collaboration with Bortolami Gallery, New York, the show inaugurates a new series of contemporary art projects connected with the activity of Il Giardino dei Lauri, a non-profit organization created by Neapolitan art collectors Angela and Massimo Lauro to develop an international center for contemporary art in Umbria and Tuscany. The location, the church of Santa Maria dei Servi, the most ancient religious building in Città della Pieve, will house site-specific works by a series of young international artists. Until July, the church will be hosting a new body of work that includes sculptures and paintings by Jonathan Meese. From July onward, it will be the turn of Aaron Young.

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In May, at the Milan branch of Istituto Svizzero di Roma, Paloma Presents—an artist-run space in Zurich, which in recent months has brought various activities to the Milan ISR—will be showcasing the Lausanne-based collective 1m3. 1m3 is a curatorial space that has been run since 2006 by Stéphane Barbier Bouvet, Jeanne Graff, Adrien Missika and Benjamin Valenza. Comparing the practices of its four members in the exhibition “A Stone is a Stone”, Jeanne Graff stresses the recurring, shared element in the works of Barbier, Missika and Valenza: stone. The show is a three-dimensional conversation about works, objects, their image and context. A view of stone, its function and use.

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Gregor Wright – Your Clock Will Never Fade Like A Flower
Until May 22
Dépendance, Bruxelles

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The Fondazione Giuliani opened in Rome on May 9 with the exhibition Mutiny Seemed a Probability. Curated by Adrienne Drake, the show takes the Giuliani Collection as a point of departure: art works by Micol Assaël, Simon Dybbroe Møller, Cyprien Gaillard, Henrik Hăkansson, Mona Hatoum, Leslie Hewitt, Graham Hudson, Alicja Kwade, Jorge Peris, Manfred Pernice, Alessandro Piangiamore, Marco Raparelli, Natascha Sadr Haghighian, Gedi Sibony, Nedko Solakov, Oscar Tuazon and Jeff Wall underscore an investigation of sculpture, materiality, fragility and ideological precariousness.
On the same day the Fondazione Giuliani also presented e-flux video rental, an interesting project comprising of a free video rental of more than 900 works of film and video art. The opening program included a screening of a selection of EVR staff picks and a conversation with Anton Vidokle and Julieta Aranda, the creators of the project.

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Piotr Janas, Sall, 2009

Museum of Lost Works, the installation created by the Polish artist Robert Kusmirowski for Fondazione Morra Greco in Naples, centers on the ephemeral destiny of artworks. It is a sort of archive in progress where, through donations and loans, mnemonic traces and documents of lost artworks are kept and handed back to the future. The purpose of Kusmirowski’s Museum is to collect the memories of visitors, photographic traces, fragments and the mental project of the artist, and to organise them according to museum criteria. The artist’s work, just like many of his interventions, exists as a growing organism: new contributions from donors willing to prolong the life of their lost works are needed for its survival.

In celebration of Tate Modern’s 10th anniversary, the gallery will devote its Turbine Hall for one weekend to ‘No Soul for Sale: A Festival of Independents’. The event will bring together over 70 independent art spaces, non-profit organizations and artists’ collectives from around the world, including Mousse.

Writer Jonathan Griffin will curate our contribution to No Soul for Sale. He invited artist Phillip Lai to produce an installation specifically for the occasion. Lai’s response acknowledges the fragile contingency of this short-lived convergence of organisations, while gesturing to necessary modes of improvisation and resistance within the arid landscape in which it takes place.

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Phillip Lai is an artist based in London.
Recent solo exhibitions have included: Stuart Shave/Modern Art, London (2009); ‘Introduction and Jargon’, Transmission Gallery, Glasgow (2009); ‘Open Container’, Galerie Giti Nourbakhsch, Berlin (2008); ‘A metal bar fell on someone’s head or something’, Galleria Franco Noero, Turin (2007).

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Tate Modern
Turbine Hall
Bankside
London
SE1 9TG

14 – 15 May 2010, 10:00 – 00:00
16 May 2010, 10:00 – 18:00
(Admission Free)

For his first solo exhbition at Croy Nielsen, Mandla Reuter chose to tear down one of the gallery walls and lean it against another, in order to serve as a screen for an expansive slide projection picturing a patch of clouds. In fact, the four works presented at Here is a Picture: all allude to the basic parameters of presenting an image and, as is often the case in Reuter’s shows, they form an entity in which each part adds another facet to the whole…

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This was not the end, Costa Vece’s new exhibition, inaugurated last week at Galleria Franco Noero in Turin. For the show, the Swiss artist produced a new series of collages in which pictures from magazines and anthropology books are folded in half, cut out or literally ‘holed’. Using the images of photographic reportages, such as those published in Life magazine, Costa Vece creates a visual fade out that outlines new narratives in order to trace geometries of the human condition.

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Can an object be handled by an artist and remain banal? Solid-State, the exhibition that inaugurate Bureau, a new gallery in the Lower East Side of Manhattan, tries to answer this current question. The show features works by Barb Choit, Vivienne Griffin, Alex Hubbard, Viktor Kopp and Daniel Lefcourt, which present, depict and manipulate inanimate objects. In states of remaining, transforming and containing, the object is exploited in its vacancy and permanence.

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After its smashing debut last June at the X Initiative in New York, this year No Soul For Sale is again set to bring together 50 independents of contemporary art from around the world, this time in the Turbine Hall of the Tate Modern. To celebrate the legendary museum’s tenth birthday, NSFS will take over South Bank for a weekend full of events, musical performances and screenings. We look forward to seeing you there!

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The exhibition Persona in meno, that will inaugurate this evening at Palazzo Re Rebaudengo in Guarene d’Alba, is the culmination of four months of efforts by three young curators – Angelique Campens (Belgium), Erica Cooke (USA) and Chris Fitzpatrick (USA) – who took part in the fourth edition of the project Residenza per giovani curatori, coordinated by Stefano Collicelli Cagol. The curators, during their stay in the beautiful country, chose 25 artists whose works will be exhibited, after the Fondazione Sandretto Re Rebaudengo, in the Palazzo Ducale of Genoa.

Above – Andrea Nacciarriti, DRAWINGS # 000000001, 2009. Courtesy: Franco Soffiantino, Turin

In 1989, the fall of the Berlin Wall opened up new perspectives and allowed the development of a new awareness of life in Germany. The visions of artists like Bernhard Heiliger or Hans Uhlmann, who, in the 1950s, had revived Berlin‘s reputation as a centre for sculpture in a city traditionally dominated by figuration, had become reality. Today, a group of young Berlin artists, composed of Andreas Golinski, Knut Henrik Henriksen, Thomas Kiesewetter, Gerold Miller, Manfred Pernice and Katja Strunz, has once again put the spotlight on abstract sculpture, and the results of their research, which employs abstraction as a means of expressing contemporary conditions of perception, will be visible until July at Nymphius Projekte in Berlin.

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In his exhibition at Galleria Fonti, Lorenzo Scotto di Luzio presents objects that time has emptied of their original meaning, while giving them new significance and creating new analogies to connect them.  The artist himself generates new interpretations: a pantograph animated by an analogical card writes the word “ciao”, a device took from a dishwasher sprinkles water on a black sheet recalling the sound of rain…

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Jacob Kassay’s first exhibition in Europe, at art:concept, in Paris, will present a series of abstract paintings with silver metallic surfaces. The works of this young American artist create a space-continuum in which blurred and opaque reflections convey illusions of depth. Beyond the impact created by the light that alters any painting’s surface, we find that the importance granted to the space between the spectator and the inherent flatness of the canvas turns into a rebounding reference to the immaterial, conceptual side of painting. His field of action is the monochromatic neutrality imparted by the absence of figures and interaction between colours; in the quest to achieve an emotional effect, he creates unpainted paintings that are animated by the reverberation of the space we view them in.

Residences are an interesting phenomenon in that they reflect a new way of traveling and a new geographic pattern of artistic workplaces. The Artists in Residence Show, which inaugurated yesterday at Fondazione Arnaldo Pomodoro in Milan, presents twenty works by young artists selected from twenty of the most prestigious residences for artists in Italy and abroad. The exhibition, curated by Angela Vettese and Milovan Farronato, has as its primary aim to promote young artists. The complete list is after the jump…

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In its brand new location at 14-20 Osborne Street, Glasgow, The Modern Institute is currently exhibiting Jim Lambie’s new show, Metal Urbain. Opening on the 17th of April—and running until the 6th of June—the show was part of the recent Glasgow International Festival of Visual Art, where one of today’s most exciting art scenes was at the top of its game.

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As a semi-public space, SALON POPULAIRE exists in two parallel dimensions: both the private sphere of the apartment and the public level of the institution. The new Berlin space opens today at Bülowstr. 90, following two thematic threads: on one hand, the handling of the space gave important impulses to the content and the formal direction of the salon, and on the other, it tries to break away from the rigid polarity of profit vs. pure disinterestedness.

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