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Published in 2007 by PILOT: PILOT:3 Colin Guillemet, Doriane Laithier, Rory Macbeth, Elizabeth McAlpine, Matthew Poole, Karine Pradier info@pilotlondon.org http://www.pilotlondon.org
Designed by Doriane Laithier Printed by Nuova Lito Effe, Piacenza Printed in Italy Š 2007 PILOT: and the authors PILOT:3 was generously hosted in Venice, June 2007, by Fondazione Bevilacqua La Masa, and in London, October 2007, by Chelsea College of Art & Design, University of the Arts London
PILOT: is supported by Arts Council England
PILOT:3 is supported by the British Council
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PREFACE Welcome to the PILOT:3 catalogue. As a book in its own right it is a dazzling crosssection of upcoming artists, as chosen by 85 invited nominators, from the wealth of unrepresented artists worldwide. Whilst collectively the images, CVs and information here provide an engrossing overview of emerging work, they are really only the star ting point to being able to research in depth each of the showcased ar tists. PILOT: features both an on-line archive on its website, and an even more detailed hard copy of the archive, where each artist has compiled a comprehensive file of images, reviews and texts, and a full CV with contact details, along with publications, CD-ROMs, and DVDs of work . In this way PILOT: offers a systematic research tool that works as a catalyst for ar tists and curators alike. We do not offer any prizes, or try to determine who is 'best', but rather PILOT: aims to provide an eclectic and compelling index each year that is easily accessible and proactively encourages research, networks and contacts that fur ther the interests of all involved, whether featured ar tists, curators, researchers, collectors or gallerists. The artists nominated here are linked by having no commercial representation, and, in an art world dominated by ar t-fairs and commercial galleries, PI LOT: is the only large-scale forum for unrepresented ar tists. The successes of the PI LOT:1 and :2 artists, in the wake of being nominated, attest to the usefulness of the PI LOT: archives and events. What makes PILOT: unique amongst other surveys of contemporary ar t is its selection procedure. Featured artists are selected by one hundred of the most exciting and prominent curators, critics, collectors and ar tists worldwide. Unlike the usual selections for survey show, often made of a small panel, we believe PI LOT's system offers a much truer, and certainly a broader vision of contemporary ar t practice. This is due to the variety and number of it's nominators, as well as the complete eschewal of editorial intervention by PILOT:. Once a nomination has been made it is suppor ted unequivocally. Quality control is instead exer ted by allowing each of the 85 invited nominators to choose only one ar tist. This means that their selection will directly reflect their professional views and opinions, as well as putting their selection alongside nominations made by their peers. For PI LOT:3 each nominator has contributed a written introduction to the work of their chosen ar tist, explaining their interest in the work. In whatever way you use this book, we hope you find it as compelling, useful and unpredictable as we have, and we hope that its variety leads you to discover more about the the work of the featured ar tists and nominators that you may otherwise have never encountered. The PILOT: Team
The PILOT: archive, comprising of the files of P ILOT:1, :2, and :3 is available for consultation at all P ILOT: events, or by appointment throughout the rest of the year . For full details about P ILOT: events and access to the archive please visit our website: www.pilotlondon.org
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ARTISTS Dan Acostioaei ............................................................................................................. Cassius Al Madhloum ..................................................................................... Tamara Arroyo .............................................................................................................. Auto ................................................................................................................................................. Michele Bazzana ....................................................................................................... Neal Beggs .......................................................................................................................... Vanessa Billy .................................................................................................................... Cecilia Bonilla ................................................................................................................. Paul Branca ........................................................................................................................ Zoë Brown ............................................................................................................................ Heather Burnett and Patrick Rose ....................................................................................................... Andrea Büttner ........................................................................................................... Mauro Cerqueira ....................................................................................................... Tomas Chaffe .................................................................................................................. Jasmina Cibic .................................................................................................................. Declan Clarke .................................................................................................................. Eduardo Consuegra ............................................................................................ Phil Coy ..................................................................................................................................... Brian Dawn Chalkley ........................................................................................ Matthijs De Bruijne .............................................................................................. Stephen Dunne ............................................................................................................ Sean Edwards ................................................................................................................ Marte Eknaes ................................................................................................................. Ruth Ewan ........................................................................................................................... Jeff Feld .................................................................................................................................... Daniel G. Andújar ................................................................................................... Mark Garry .......................................................................................................................... Caron Geary ...................................................................................................................... Jef Geys .................................................................................................................................... Beatrice Gibson ........................................................................................................... Karen Guthrie and Nina Pope ........................................................... Lilli Hartmann ................................................................................................................ Geka Heinke ..................................................................................................................... Christopher Ho ............................................................................................................. Saskia Holmkvist ...................................................................................................... Lisa Holzer ........................................................................................................................... David Hominal ............................................................................................................... William Horner .............................................................................................................. Markus and Reto Huber .............................................................................. Patrick Killoran ............................................................................................................. Kira Kim .................................................................................................................................... Silke Koch .............................................................................................................................. PILOT : 3
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010 014 018 022 026 030 034 038 042 046 050 054 058 062 066 070 074 078 082 086 090 094 098 102 106 110 114 118 122 126 130 134 138 142 146 150 154 158 162 166 170 174
Susanne Kriemann ................................................................................................ Lisa Krivacka .................................................................................................................... La Loko ...................................................................................................................................... Debbie Lawson ............................................................................................................ David Lefebvre ............................................................................................................. Alon Levin ............................................................................................................................ Minouk Lim ........................................................................................................................ Pia Linz ....................................................................................................................................... Dainius Liskevicius ............................................................................................... Johan Löfgren ................................................................................................................ Sean Lynch .......................................................................................................................... Rory Macbeth ................................................................................................................. João Marçal ........................................................................................................................ Virginie Marnat Leempoels ................................................................... Dean Marsh ........................................................................................................................ Lynne Marsh .................................................................................................................... Stuart Mayes ................................................................................................................... Philip Newcombe ..................................................................................................... Seamus Nolan ................................................................................................................ Vanessa O'Reilly ........................................................................................................ Adam Page & Eva Her tzsch ................................................................ Annapaola Passarini .......................................................................................... Michael Pfrommer .................................................................................................. Karine Pradier ................................................................................................................ Laure Prouvost ............................................................................................................. Tom Ranahan .................................................................................................................. Lala Rascic ........................................................................................................................... Rachel Reupke .............................................................................................................. Delphine Rigaud ........................................................................................................ Douglas Ross ................................................................................................................... Edwin Sánchez ............................................................................................................ Fia-Stina Sandlund ................................................................................................ Pablo San Juan ............................................................................................................. Jorge Sattore .................................................................................................................... Tomo Savic-Gecan .................................................................................................. Ethel Shipton ................................................................................................................... SKART .......................................................................................................................................... Andrea Thal ...................................................................................................................... Francisco Ugarte ....................................................................................................... Michael Van den Abeele ............................................................................ Eric Van Hove ................................................................................................................ Roman Vasseur ............................................................................................................ Vadim Zakharov .........................................................................................................
178 182 186 190 194 198 202 206 210 214 218 222 226 230 234 238 242 246 250 254 258 262 266 270 274 278 282 286 290 294 298 302 306 310 314 318 322 326 330 334 338 342 346
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NOMINATORS Kitty Anderson ............................................................................................................. Xabier Arakistain ..................................................................................................... Auto ................................................................................................................................................. David Barrett ................................................................................................................... Regine Basha .................................................................................................................. Matei Bejenaru ............................................................................................................. El Bodegón .......................................................................................................................... Ignacio Cabrera Rodríguez ..................................................................... Irene Calderoni ............................................................................................................ Canal .............................................................................................................................................. Marc Camille Chaimowicz ....................................................................... Spartacus Chetwynd ........................................................................................ Circuit ........................................................................................................................................... Stuart Comer ................................................................................................................... Sarah Cosulich Canarutto ......................................................................... DAE .................................................................................................................................................. Jacob Dahlgren ............................................................................................................ Bryan and Laura Davies .............................................................................. Ann Demeester ........................................................................................................... Nikola Dietrich .............................................................................................................. Doméstico .............................................................................................................................. Xavier Douroux ............................................................................................................ Tom Eccles ........................................................................................................................... Elena Filipovic ............................................................................................................... Mike Fitzpatrick ......................................................................................................... Ryan Gander .................................................................................................................... Colin Guillemet ............................................................................................................ Nav Haq ................................................................................................................................... Larissa Harris .................................................................................................................. Gerard Hemsworth .............................................................................................. Sofia Hernández Chong Cuy ............................................................... Andrew Hunt .................................................................................................................. Inventory ................................................................................................................................. Gianni Jetzer .................................................................................................................... K3 ......................................................................................................................................................... Dan Kidner ........................................................................................................................... Udo Kittelmann ........................................................................................................... Meta Knol .............................................................................................................................. Pablo Lafuente ............................................................................................................. Doriane Laithier .......................................................................................................... Nicola Lees .......................................................................................................................... Sophie Legrandjacques ................................................................................
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034 118 022 242 142 010 298 018 290 082 246 046 154 286 026 310 214 130 198 266 306 230 182 314 218 094 274 146 294 066 166 278 258 162 326 078 346 050 102 190 114 030
Jacob Lillemose ........................................................................................................... 186 Inge Linder-Gaillard ............................................................................................ 194 Jacinta Lynch .................................................................................................................. 250 MAD WOMAN IN THE ATTIC ........................................................ 226 Chus Martinez .............................................................................................................. 054 Elizabeth McAlpine ............................................................................................. 126 Sinisa Mitrovic ............................................................................................................... 322 Antoni Muntadas ..................................................................................................... 110 Susanne Neubauer ................................................................................................ 138 Ricardo Nicolau ........................................................................................................... 058 John Peter Nilsson ................................................................................................ 302 Office for Art Projects (OPA) ............................................................... 330 Melanie Ohnemus .................................................................................................. 150 November Paynter ................................................................................................ 282 Ingrid Pfeiffer .................................................................................................................. 206 Alan Phelan ........................................................................................................................ 254 Sarah Pierce ....................................................................................................................... 070 PILOT:3 .................................................................................................................. 222 & 270 PoCA .............................................................................................................................................. 238 Matthew Poole ............................................................................................................. 342 Simon Rees .......................................................................................................................... 210 Alex Reynolds ................................................................................................................ 134 José Roca ............................................................................................................................... 074 Dieter Roelstraete ................................................................................................... 334 Alex Sainsbury ............................................................................................................. 038 Nicolaus Schafhausen ..................................................................................... 178 Eva Scharrer ...................................................................................................................... 042 Brian Sewell ...................................................................................................................... 234 Chris Sharp ......................................................................................................................... 106 Dirk Snauwaert ........................................................................................................... 122 John Stezaker ................................................................................................................. 158 Jeannette Stoschek .............................................................................................. 174 Jinsuk Suh .......................................................................................................................... 202 Wolfang Tillmans ..................................................................................................... 098 Mark Titchner ................................................................................................................. 090 Dan Tombs ........................................................................................................................... 062 Triangle Project Space (TPS) ................................................................ 318 Phillip van den Bossche ............................................................................... 086 Jan Van Woensel ...................................................................................................... 338 Angela Vettese ............................................................................................................ 262 Jinsang Yoo ........................................................................................................................ 170 Tirdad Zolgadhr .......................................................................................................... 014
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DAN ACOSTIOAEI Nominated by Matei Bejenaru
In Dan Acostioaei’s ironic videos, one sees a commentary on the socio-political situation in post-communist Romania. Things are not explicit though, this is where their quality lies and where they d ifferentiate f rom j ournalistic v ideos. P rovincialism, isolation, the 1990s rise of the religious practices as a response to the lack of social and moral values after the collapse of the communism, the chaotic private constructions which appeared in the urban Romanian landscapes and are always far from being ever finished. These are some of the "leitmotivs" in Dan Acostioaei’s works which are giving a view of the complex situation of contemporary Romanian society. Matei Bejenaru is an artist and initiator of Periferic Biennial Iasi, Romania. www.periferic.org
I am using video, photography , and drawing, in order to investigate the transition in Romanian identity from a traditionalist society to one that has been heavily impacted by consumerism and recently reintroduced in a global scenario. My works analyse the transformation of the social mental projections from the utopian functionalism and centralised planning t o t he c haotic s ymbolic i nvestment, w ithin t he relationship between the political system and the expressions of consumerism, media or urban landscape. Dan Acostioaei was born in 1974 in Iasi, Romania, where he lives and works.
Above: Reconstructionscapes, 2005, video, video still, DVD, video, 14’50’ ’, PAL, colour, stereo sound, no dialogues; top right: view from the installation Reconstructionscapes, 2005, DVD, video, 14’50’’, PAL, colour, stereo sound, no dialogues; right: Logo, 2004, light box, 70 x 70 x 20cm
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Education 2001 MFA, George Enescu University of Arts, Iasi, Romania 1998 BFA, George Enescu University of Arts, Iasi, Romania Solo exhibitions 2006 Vaasa by Night, Platform Gallery, Vaasa, Finland 2005 Vanishing Points, Vector Gallery, Iasi, Romania 2004 Mythologies, Cupola Gallery, Iasi, Romania 2002 DERO, Cupola Gallery, Iasi, Romania Group exhibitions 2006 The Other City, Traf贸 Gallery, Budapest 2006 Legal Aliens, Smack Mallon Gallery, Brooklyn, New York 2006 Misdemeanor, Spaces Gallery, Cleveland, USA 2006 Hot/Cold - Summer Loving, Zacheta National Gallery of Art, Warsaw 2006 Runaway, SPACE/Gallery Priestor for Contemporary Arts, Bratislava, Slovak Republic 2005 Staging Idioms. A documentary installation, within the framework of "Private Investigations Research, Acquisition and Processing of Knowledge in Contemporary Art Practices", Stadtturmgalerie, Innsbruck, Austria 2005 Brief Encounters, 11th Bristol International Short Film Festival, Watershed Cinema 3, Bristol, UK 2005 Serial Cases, Israeli Center for Digital Art, Holon, Israel 2005 Post Industrial Carnival, Flight 19, Tampa, Florida
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2005 Beograd nekad i sad (Belgrade, Past and Present), Prodajna Gallery, Belgrade, Serbia and Montenegro 2005 No significant incidents to report, Galeria Noua, Bucharest, Romania 2005 Prague Biennale 2, Veletrzni Palac, Prague 2005 Cover Story, Display Gallery, Prague 2005 Docu fiction, Trafo Gallery, Budapest 2005 Irreducible, CCA Wattis Institute for Contemporary Arts, San Francisco 2004 Against Space, Dinamo Gallery, Budapest 2004 The way the world is, Turkish Bath, Iasi, Romania 2004 SHAKE NIGHT, MNAC / Kalinderu Media Lab, Bucharest, Romania 2004 Rhetorical Situations, Cupola Gallery, Iasi, Romania 2004 Revolutions Reloaded, Play Gallery, Berlin 2004 New Europe, New Video, The Renaissance Society, Chicago 2003 Prague Biennale, Veletrzni Palac, Prague 2003 Video P6, French Cultural Center from Iasi, Romania 2002 ">", Eforie Gallery, Bucharest, Romania 2001 Umetnost bije umetnost (Art beats Art), Konkordia Gallery, Vrsac, Yugoslavia 2001 Periferic 5, Turkish Bath from Iasi, Romania 2000 Via Bucuresti, Eforie Gallery in Bucharest, Romania
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Above: Bahlui By Night, 2004, ollaboration with Dragos Alexandrescu, film still, DVD, video, 12’40”, PAL, colour, stereo sound, no dialogues; left: Jim Craciun, 2006, video, video still, DVD, video, 27’46”, NTSC, colour, stereo sound, dialogues, English subtitles; right: Crossroad, 2005, video and multi-channel video installation, video stills, DVD, video, 2’32’’, PAL, color, stereo sound, no dialogues
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CASSIUS AL MADHLOUM Nominated by Tirdad Zolghadr
Al Madhloum is a Jenin-born painter . He has made a recent entrance within the professional art circuit, first in the Middle East and the Maghreb, and now, possibly, Europe. His oeuvre, empowered by the belief that “it doesn’t take much to paint”, has often been referred to as “very formal” in temperament, with the finest paintings including dabs of fluorescent red, silver glitter, glossy tape or fields of darkest noir , which give a modern touch to the considered presence of international painterly traditions conveyed by cataracts of drips, blobs, bars and bands. The thrust of what he terms “verisimilitude as gentle magic” is conveyed by subjects drawn from Arab and Iranian modernism, sometimes evoking the ways in which the visual lexicon of the mass media employ the same motifs. All in all, his work forms a handsome, if at times exaggeratedly conceptual, reflection on the inevitability of reference.
Cassius emigrated from Jenin when he was eighteen, now living and working in various places, between Europe, T unis, Beirut, and even Tehran and Isfahan, where he is working on a “monumental temporary sculpture in two par ts”, entitled Apples and Beefsteaks . Both Cassius’ parents are Palestinian; his mother an amateur boxer, once offering free daily lessons to women in the neighbourhood, which explains both the pen name and the boxing glove leitmotif in the work. His father , now retired, was for a shor t time Cassius’ studio assistant Tirdad Zolghadr is a freelance critic and curator based in Berlin.
Cassius was born in 1967 in Palestine. He lives and works in the south of Iran.
Above: Erstens lernt man äpfel und beefsteaks malen, zweitens wird man satt davon, c.1995, oil on canvas; right: Study for My Dear Brother, If Socialism is Inevitable then Why the Struggle , 1999, Oil on canvas, 26cm x 41cm, private collection, Geneva
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Above: Behind silent curtains (the Rosler series), 2004, oil on canvas 29 x 42cm; left: Cubistique Mike Tyson, 1987, oil on canvas
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TAMARA ARROY0 Nominated by Ignacio Cabrero Rodríguez
Anamnesis is a greek word describing the action through which ideas forgotten return to the memory. Images of places, photographs, special everyday life moments are, for Tamara Arroyo, impor tant things from the memory and by drawing, photographing or recording them, she rescu es forgotten qualities. As the French ar tist Sophie Calle, she believes in a supernatural organisation of everyday things and she try to find it out from the past to the present. But the important thing is not the memory . What matters is whether remembering enlightens us. Tamara Arroyo works making marks around shadows and objects forming a line suggesting that drawing begins not in the imitation of something present but rather in a withdrawal. The drawing is given-to-remember . The mark remains a close to touch as it is given to be seen. “To think of memory in terms of representation is to think of it from the perceiver’s point of view… Memory as representation occludes memory as gift. W e find this movement of gift and occlusion in Pliny , in the account of what has come to be known as the story of the origin of drawing, where the daughter of the potter Butades, who lived in Corinth, was in love with a young man, and when he was going abroad she drew a silhouette on the wall round the shadow and his face cast by the lamp” Marking Time: Memory and Matter, Michael Newman Ignacio Cabrero Rodríguez is the coordinator of cultural department at La Casa Encendida, Madrid.
Tamara Arroyo was born in 1972 in Madrid, where she lives and works.
Left: Playing dice, 2003, video installation, DVD 2’10”, colour photograph and two dice made of felt, dimension variable; above: Salon, 2003, of the serie Despropiedades, 68 x 150cm, colour photograph on aluminium
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Education 2001 Graduation in Fine Arts, Universidad Complutense, Madrid Solo exhibitions 2006 Nevera, Frágil, un lugar para el arte contemporáneo, Madrid 2003 Una película de piel, Marisa Marimón Gallery, Orense, Galicia 2003 Jugando al escondite, PHE03 Valle Quintana Gallery, Madrid 2003 Dibujar la casa, Vacío 9 Gallery, Madrid 2003 Visite nuestro hogar, Regional Administration’s Centre of Young Arts, Madrid Group exhibitions 2006 ESTAMPA 06, Central administration of equality of opportunity, Madrid 2006 16 artists on a trip, Spanish railway company RENFE Madrid, Barcelona, Bilbao, Valencia. 2006 16th Competition of Visual Arts, UNED, Madrid 2006 Generation 2006, Obra social, social arm of Caja Madrid, Madrid 2006 10th Competition of Visual Arts, Unicaja, Málaga 2006 10th Biennial Arts Exhibition, Pamplona 2005 42nd International Competition of Visual Arts,
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Pollença, Mallorca 2005 Arco05, Vacío 9 Gallery, Madrid 2004 Nit Niu´04, La noche del Náufrago, Cala San Viçenc, Pollença, Mallorca. 2004 41st International Competition of Visual Arts, Pollença, Mallorca 2004 Arco 04, Generation 2003, Arts Scholarships, Caja Madrid, Madrid 2004 Hangar Obert Hivert, Barcelona 2004 Antoni Gelabert Award 03, Palma-City, Casal Solleric, Mallorca 2003 Purificación García Award, Botanical Gardens, Madrid 2003 Meanwhile, Conde Duque, Madrid 2003 Urbietorbi, Photospain on the street, Madrid 2003 Antoni Gelabert Award 02, Palma-City, Casal Solleric, Mallorca 2002 Seven studios in a Storehouse, Doméstico 02, Madrid 2002 Finalist 1st competition of Visual Arts, Orense County Council 2002 L`OREAL Award XVIII, Conde Duque, Madrid 2002 7th competition Visual Arts by Unicaja, Palacio Episcopal, Málaga
2001 13th Circuit Edition of Visual Arts and Photography, Madrid Awards and scholarships 2001 2nd Photography Award UNED (National Distance University) 2001 Consolation price in photography, Institute of Youth INJUVE, Madrid 2001 Winner of 3rd Architecture and Photography Award, Ministry of National Economy, Madrid 2002 Generación 2003 Award, Caja Madrid. Scholarship in Visual Arts, Regional Government of Andalucia 2003 Finalist in Pistoletto Foundation Scholarship, INJUVE 2003 Finalist in Scholarship Endesa ’03 for Visual Arts 2003 Visual Arts Awards, Orense County Council, Galicia 2003 Residence Scholarship Hangar, Barcelona Casa de Velázquez Scholarship, Madrid 2006 Award-Scholarship by Regional Administration Comunidad de Madrid. Project: Sunset 2006 Antoni Gelabert Awards in Visual Arts, Palma City, Mallorca
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This page: Music box, 2003, DVD, 1’10”; facing page: Sunset, 2005, installation with colour photograph on aluminium 180 x 70cm, drawings, 29,7 x 21cm and DVD 3’50”
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AUTO
Nominated by Auto <auto> - the new space for ar t - was founded in 2002 by Jakob Lena Knebl, Gerald Grestenberger d-g-v , Markus Hausleitner (Mark Le Bon) & Rena Ritz as a follow-up project of the ar tistgroup Die Familie (The Family). <auto> is a non-white cube art-space, situated in two old stores without renovation during the last five years. We do not neglect the “White Cube”, but thought it to be interesting to show ar t at a space that’s not completely defined as “a place for art”, like a gallery, and so providing a “rough surrounding” for ar tists, that “used” and changed the space with each exhibition to their special needs. <auto> is a discursive place: the ar tists are present most of the time to encourage dialogue not only through their work, but also in for discussion with the public. <auto> works on the socio-political topics of T rans-GenderIdentity and on the fields of aesthetic research - thereby focusing on the task and function of the form of a “message”, supporting and enabling the process of successful and effective communication. With a mix of well known and unattended positions of contemporary ar t production and ar tists vigilance shall be increased for these topics. <auto> plans to stop activity at the current location at the end of
June 2007 to prepare an artist-book, involving all the artists that have already exhibited at <auto>, as well as new positions; <auto> will also go on working in the media – radio & TV . The current <auto> team consists of Jakob Lena Knebl, Gerald Grestenberger d-g-v, Bruce LaMongo & Hans Scheirl. The works of the following artists were shown at <auto> in 42 exhibitions - thanks to all of them!: Constanze Schweiger , David Jourdan, Roland Maurmair , Waltraud Brauner , Christoph Bruckner , N igel Brunnhuber , Dominik Castell, Christian Egger , Manuel Gorkiewicz, Lone Haugaard Madsen, Christian Mayer, Christoph Meier, Katharina Heistinger, Anton Herzl, Fabian Patzak, Lisa Rastl, Richard Reisenberger, Rüdiger Reisenberger, Roland Seidel, Tove Storch, Marlene Haring, Jochen Höller , Georg Petermichl, Mar tin Sulzbacher, Martin Gabriel, Aldo Giannotti, Edith Payer , Micha Payer, Wendelin Pressl, Jakob Knebl, Gerald Grestenberger d-gv, Bruce La Mongo, Harald Anderle, Kaucyila Brooke, Daniela Comani, das Em, Katrina Daschner, Ines Doujak, Martin Gabriel, Christina Goestl, Matthias Herrmann, IF , Si.Si. Klocker , Jakob Lena Knebl, Boris Kopeinig, Peter Kozek, Thomas Hörl, Bruce LaMongo, Dorit Magreiter , Mara Mattuschka, Catherine Opie, Linda Reif, Katharina Miko/N adja B. Schefzig, Sabine Sonnenschein, Hans Scheirl, Mar tin Sulzbacher/Georg
To be looked at from the other side (with one eye closed if you like) , 2007, folie on paper, wood (stick), string, 180 x 130 cm. Herald Anderle
AUTO
BRUCE LAMONGO Exhibitions 2007 Club of Sadists, Academy of Fine Arts, V ienna 2006 Room of Gloom, < auto >, Vienna 2006 Come to Daddy, Kunstraum Innsbruck 2006 Remodel Reshape, Elektro Gönner, Vienna 2006 Männerschicksale, free Artists Wichtelgasse, Vienna MICHAELA MÜCK Solo exhibitions 2007 Small Particles Isolated, art space <auto>, Vienna 2004 Walking Down my Memorylane, Pavillon Wels Group Exhibitions 2006 In Between Times, Performance with R. Steger, TQ Vienna 2006 I’m Here By Mistake, Performance Groupshow, Vienna 2004 Diong Baby – An Odradek Hologramm 2004 Performance, Museum of Modern Art, Vienna GERALD GRESTENBERGER 1999-2002 Member of the artist-groups DieFamilie and Honeylab, host of the artspace < auto >
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Hide and seek in the white cube , 2005, installation view. Gerald Grestenberger d-g-v
Petermichel, Gabriele Szekatsch, Sabine Schwaighofer , Viktoria Tremmel, Gerhard Veismann, Michaela Mück, Anthony Wagner, Chiara Minchio, Judith Fegerl, Miriam Bajtala, Markus Bauer , Pirmin Blum, N ikolaus Gansterer , Christina Goestl, Michael Gumhold, Markus Hausleitner , Max Hinderer , Lisa Holzer , Sabine Jelinek, kozek hörlonske, Chiara Minchio, Hans-Jürgen Poetz, Y vonne Reittinger , Sabine Schwaighofer , Renate Bertlmann, Andrea Kalteis, Fabrics Interseason (W ally Salner &
Solo exhibitions 2006 Cannibal Sex, <auto>, Vienna 2006 Fly to the Sky!, Elektro Gönner, Vienna 2005 UPDATE, Vienna 2002 A basic work by Heimo Zobernig relaunch gemeinsam mit Heimo Zobernig, MAMCO, Genève 2002 Pisscorner 1, <auto>, Vienna 2002 The Vanishing of the Body, Art A.T.O.M, Vienna 1999 Tak (with Lena Kenbl) Großprojektionen auf über 20 Bahnhöfen, Polen 1999 Wir Künstler, wir Clowns, GeneraliFoundationVitrine, Vienna 1996 The Treepleasure project 2: Die Baumwaschung, VEKKS, Vienna 1996 Fufishyck Elevator, Trabant, Vienna Group exhibitions 2007 ArtMArt, KünstlerHaus, Vienna 2007 UnORTnung I, Vienna 2007-2006 die Queerulanten innen/außen, <auto>, Vienna 2006 Lets have ..., Kunstraum Innsbruck, Innsbruck 2006 Schlangengurbe - Snkae Pit, Imaging für Publikation von ManfreDu Schu, Ritter Verlag
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Johannes Sschweiger), Sonja Eismann, Christiane Erhar ter, Clemens Stecher, Tonto, Eva Beierheimer , Laura Bott , N icola Brunnhuber, T iphanie Dragaut, Thomas Ehgar tner, Karin Felbermayr, Lia Gulua, Clementine Hanbury , Mar tin Kitzler , Levent Kunt, Miriam Laussegger , Mar ta Mikulec, Claudia Mongini, N adim V ardag, Smi Vukovic, Stef Burghard, Romy Richter, Mercedes Visely, Heiri Haefliger, Heiko K. Wennesz. www.parking-lot.org | auto@parking-lot.org
2005 O.T. or Blickökonomie or Biased-Space, Bétonsalon, quartier21, Vienna 2005 Beziehungsproblem, K2, Vienna 2003 Interferenze(n), Bozen 2003 Armut, Historisches Museum der Stadt Vienna, Schubert-Gedenkstätte – Sterbewohnung, Virgilkapelle, Vienna 2002 LETS TWIST AGAIN, Vienna 2002 Zero You Ground Maid (Gold), High Calibre Performance Festival, Berlin 2002 Steffi Graf für Die Famlie, FlexFluxFladenbrot, Vienna 2001 Our Kingdom Come, Soho Ottakring, Vienna 2000 Circumvent, with Honeylab, GeneraliFoundationVitrine, Vienna 2000 0. zerodefinition - a basic work by Heimo Zobernig - part of Die Raubkunst Projekte, Vienna 2000 Wizard Of Buffalo, cultural sidewalk, Vienna 2000 Send To Glory, Universität für Angewandte Kunst, Vienna 1999 Jenkas Trauma , Schikaneder, Vienna 1999 MAMA, Station 3, Vienna
1997 MOL, PublicNetbase, Vienna JAKOB L. KNEBL AND HANS SCHEIRL Exhibitions 2007 Un/ortung, Vienna 2007 Groupexhibition, Riga 2007 ArtMArt künstlerhaus, Vienna 2007 Butterbrot Tomate und ein Hut, Paris 2006 Que(e)rulant innen/aussen..., Vienna 2006 Queer Rrr..., Vienna 2006 Bravo! Hans und Jakob, Bravo, Rotterdam 2006 Hans und Jakob im Auto, Auto, Vienna 2006 Auto schau!, Kunstraum, Innsbruck 2006 Contemporary Witchcraft, Paris 2006 Relax, Paris 2006 Staatsstipendium for photography MARKUS HAUSLEITNER Exhibitions 2007 Butterbrot Tomate und ein Hut, Paris 2007 Groupexhibition, Riga 2007 Pressepreis unit f 2006 Que(e)rulant innen/aussen..., Vienna 2006 Contemporary witchcraft, Paris 2006 Relax, Paris
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(a1 – b 1)2 + (a 2 – b 2)2 + (a 3 – b 3)2, 2007, coloured pencil drawings on paper , 25 x 40cm. Michaela Mück
No protection: brd 1977, 2007, photocollage, 30 x 42cm. Bruce LaMongo
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Melanie Klein/gross, 2006. Jakob Lena Knebl + Hans Scheirl
Gothic wall make up, for Robert S. and Siouxsie S., 2007. Markus Hausleitner
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MICHELE BAZZANA Nominated by Sarah Cosulich Canarutto
By putting together everyday objects in unexpected ways, Michele Bazzana juxtaposes automated or mechanical processes to their metaphorical and often paradoxical reaction. Like a crazy scientist the ar tist builds up ironic situations sparked by the encounter of controlled and unconscious energy, voluntary and involuntary movement, ar tificial and natural change. These improbable associations question the mechanisms, impulses and forces which drive our thoughts and behaviours. Sarah Cosulich Canarutto is Curator at V illa Manin Centre for Contemporary Art in Northern Italy.
Michele Bazzana was born in 1979. He lives and works in Codroipo (Udine), Italy.
Left: A passo con i tempi (keeping up with the times), 2007, 300 x 100cm, industrial conveyor belt (10m/sec, 200 kg capacity), framed drawings, presence detector; top right: Crash, 2006, approx. 7cm, toy car, nail; below right: Strappalacrime (tear jerker), 2005, 200 x 50cm, hoover, presence detector
Solo exhibitions 2007 Moto a Luogo, Spazio FVG, curated by Sarah Cosulich Canarutto, Villa Manin Centre for Contemporary Art, Passariano, Codroipo (Udine) 2005 Wie die brust, curated by A. Mancassola. Unorossodue, Milan 2003 Celeste Metallizzato, curated by A. Zanchetta. Interno&dumdum, Bologna Group exhibitions 2006 CZ_VPI2006, curated by Luigi Viola, Mauro Arrighi, Maurizio Zennaro, Massimo Chiazzo, Collateral events, 10th Architecture Biennale, Centro Zitelle, Venice 2006 Fruz: una nuova generazione di artisti in regione, curated by A. Bruciati, Galleria Comunale di Monfalcone (Gorizia) 2006 Premio internazionale d’arte contemporanea “Ermanno Casoli” welcome: tech e touch, curated by
MICHELE BAZZANA
Valerio Dehò. Monastero di Santa Lucia, Serra San Quirico (Ancona) 2006 Chi va con lo zoppo impara a zoppicare, curated by Alessandro Mancassola. Miart 2006, Unorossodue, Milan 2006 Tende a infinito, Palazzetto Tito, Fondazione Bevilacqua La Masa, Venice 2005 Sinnaturismo, curated by A. Zanchetta, Castello di Rivara, Rivara (Torino) 2005 Arcipelago-arhipelag, curated by P. Mignozzi, Train station Square, Nova Goriza, Slovenia 2004 Black box in the white cube, curated by A. Mancassola. Unorossodue, Milan 2003 Omuse, curated by G. Alessandri, Arsenale, Venice Biennale 2001 Hicetnunc, curated by A. Bertani, Villa Manin, Passariano-Codroipo (Udine) 2001 Le stanze di Ettore, curated by A. Zanchetta,
Palazzetto Tito, Fondazione Bevilacqua la Masa, Venice 2001 La natura l’arte la meraviglia, curated by W. Guadagnini, Museo civico di Storia Naturale, Verona / Museo di storia naturale e archeologica, Montebelluna (Treviso) 2001 Real Presence, curated by P. Tomic, Beograd, Serbia 2000 84ma Collettiva, Fondazione Bevilacqua la Masa, Venice Collaborations Since 1999 Michele Bazzana cooperates with “Damatrà” in the development of interactive mechanical instruments for children educational laboratories, as well as working independently as a stage designer and robotics specialist. Since 2002 he collaborates with the experimental theatre group Cosmesi, winner of the prize “iceberg spettacolo 2005” and of numerous other awards
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Clockwise from above: Ricordati del souvenir (Please remember your memento) , 2003, 40 x 20 x 10cm variable length, drill, steel cable, timer; Pull, 2007, 130 x 80 x 60cm variable length, metal structure, drills, wheels, timer; Chi intenda intenda, 2006, camping tent, plugs; Chi va con lo zoppo impara a zoppicare (He that dwells next door to a cripple, will learn to halt) , 2006, 300 x 400cm, washing machine, moving floor , presence detector
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NEAL BEGGS
Nominated by Sophie Legrandjacques N eal Beggs is one of those ar tists who strive to embrace at once, ar t, life, the material world of objects and the more abstract one of thoughts. I see his whole body of work as a neverending open-road. I like the way he is saying that the real is also abstract, and that one can look at it and experience it from afar . I like above all his ability to maintain an ethical level on the act of making ar t. Sophie Legrandjacques is curator at Le Grand Café, Centre d’Art Contemporain, St Nazaire, France. The social contract depicts the ar tist at work, a kind of visual statement. Reference to Montmorency in the subtitle serves both to locate the work geographically and conceptually . As Montmorency, a suburb of Paris is where Rousseau once lived and wrote his political treatise after which the work is named. The words attached to the front face of Dear Prudence are taken from the writing of the British mountaineer Edward Whymper. Those on the back are my own. The Public is free to climb this work, and despite the difficulties, many reach the top, even more reach the summit via the ladder .
Adidas kids documents a chance encounter between myself, the Scottish writer Duncan McLaren, and three gipsy children who try to communicate with us using the universal language of Adidas. The children were amazed that not only could we not understand French but apparently had never heard of adidas! Surfaceaction involves the traversing of the gallery walls using ice axe and crampons. When appropriate, each time this work is exhibited, a new video is made. T o date, this has happened four times. Tent on a ledge is secured to the wall only through the adhesive powers of two lengths of scotch tape. Collapse is inevitable. Edelweiss depicts all summits visible on the 1:50000 map of Switzerland; from the smallest drumlin, to the highest peaks. The work could be thought of as none-Euclidean, in that we perceive the possibility of a dual reality . Mountains and Stars, coexisting within the same space and time. Neal Beggs was born in 1959 in Larne, Northern Ireland. He lives in France and the UK.
Right: The social contract, 2006, 48 rue de Montmorency, Paris, colour photograph, size variable
Education 1996-1998 MFA Glasgow School of Art. 1992-1995 BA Sheffield Hallem University. Solo exhibitions and commissioned public works 2007 Dear Prudence, Place Royale, Mont des arts, Brussels (public art commission for brxlbravo 2007, commissioner Charles Gohy) 2006 Starman, Le Bonheur, Brussels 2006 The Social Contract, 48 rue de Montmorency, Galerie Jean Brolly, Paris 2004 Real Time, FRAC des Pays de la Loire, Nantes 2004 Five problems in Art Today, Domaine Chamarande (public art commission) 2004 The Suburb, Fontenay-Le-Comte, France (public art commission, commissioner Yvon Nouzille) 2004 Why do you look at me, Transpalette, Bourges, France
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2003 There are no mountains in Saint-Nazaire, Le Grand Café, Saint Nazaire 2002 Surfaceaction, Galerie La Sous-sol, Paris 2001 Adult pass, Zoo Gallery, Nantes, France 2000 Corridor, CCA, Centre for Contemporary Art Glasgow (public art commission) 1999 Dead Flat Vertical, Transmission, Glasgow Group exhibitions 2006 Antipodes, FRAC Lorraine, Metz, France 2006 Noir, Sainte-Croix-Vallée-Française, France 2005 For a moment, Kunstraum Kreuzberg Behanien, Berlin 2005 When latitudes become Swiss, FRAC Lorraine, Metz, France 2004 Sportivement Vôtre, Domaine de Chamarande, France 2004 Ambiances sport, Musée Géo-Charles, Magasin, Grenoble
2003 Dead Flat Vertical, Galerie La Sous-sol, Paris 2003 Janot and Beggs, Forum Culturel du Blanc-Mesnil, Paris 2002 Somewhere, Angle Row Gallery, Nottingham 2002 Frozen, Site Gallery, Sheffield 2001 Art + Mountains, The Alpine Club, London 2001 Attacking Mud, Glasgow Project Room, Glasgow 2000 Red Marauder, Tramway, Glasgow 2000 Green Green, Mobilehome Gallery, London 1999 Flop, The French Institute, Edinburgh 1999 Zero Gravity, Zoo Gallery, Nantes, France 1998 Mountain Madness, Glasgow Project Room, Glasgow 1998 MFA Glasgow, Tramway, Glasgow Public Collections. 49 nord 6 est, Frac Lorraine Domaine de Chamarande
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Top: Dear Prudence, 2007, front and back face, temporary public ar t work located on Place Royale, Mont des ar ts, Brussels, 600 x 480 x 400cm, face angle 75°, steel, wood, ladder , paint and old mattresses, production brxlbravo; above: Adidas kids, 2003, DVD video, 7.5â&#x20AC;&#x2122;
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Top left: Surfaceaction, 1998, Glasgow, DVD video, 14â&#x20AC;&#x2122;; top right: Tent on a ledge, 1997, balsa wood and tape, 56 x 23 x 10cm, tape 1cm x variable length, edition seven; above: Edelweiss, 2005, 1:50000 scale wall painting depicting all summits in Switzerland, 900 x 650cm, production 49 nord 6 est Frac Lorraine
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VANESSA BILLY Nominated by Kitty Anderson
Vanessa Billy works with a variety of materials to create simple assemblages t hat p rovoke c ontradictory a ssociations. H er work is concerned with the physicality of materials and the sensations evoked by par ticular colours, textures and forms. Black rubber puddles droop over stone stairs, while wooden rainbows spring from lumps of concrete and thin strips of aluminium balance precariously against white washed walls. Though seemingly minimal and industrially produced, Billy’ s sculpture exposes the signs of its own making. Hand cut edges and painted surfaces become clues to the processes each object has undergone, and, whether bought, found or made, its history is slowly revealed. Kitty Anderson is associate curator at Frieze Projects, London. Vanessa Billy was born in 1978 in Geneva, Switzerland. She lives and works in London and Geneva.
Education 2001 BA Fine Art, mixed media, Chelsea College of Art, London 2000 The Cooper Union School, New York 1998 Foundation, Saint Martins College of Art and Design, London Solo exhibitions 2006 Wet and dry practice, The Hex Projects, London 2006 No visible means of support, publication of an artist book Group exhibitions 2007 Even anti-heroes need their mum, curated by Kim Seob Boninsegni and Samuel Gross, Galerie Guy Bärtschi, Geneva 2007 Salon 2007, New British paintings and works on paper, curated by Sotiris Kyriacou and Art W ork Production, London
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2007 Sijang Jeon Eun Neomu Ileo..., L’Atelier, L’Usine, Geneva 2006 Make room for the invisible man, curated by Aurelien Gamboni, Forde, Geneva 2006 Publish and be Damned, with John Frum Press, London 2005 Les feuilles mortes, Duplex, Espace d’arts contemporains, Geneva 2004 Window cleaning days are over, curated by Anna Colin and Tobias Meier, The Empire, London 2004 Noises, Platform for Art, Deptford, London 2003 A Hurtadillas, three person show and street interventions, Los29enchufes, Madrid 2002 Publication in the magazine Sexymachinery, London 2001 Performance with The Invisible Sounds, 291 Gallery, London
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Far left: Equator in Ecuador, 2007, cardboard, stone composite, Perspex, plastic; above: Good housekeeping, 2006, polystyrene, fabric, copper tube, magazines, concrete; left: Ciao to bling, 2006, newspaper, debris, brass tubes
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Top: Added value, 2006, concrete, chains; above left: Gorgeous remarks, 2005, wood, paint; above right: Up there, 2005, PVC; right: Up, down, side and side and side , 2006, plaster, paint, varnish, fabric, collage
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CECILIA BONILLA Nominated by Alex Sainsbury
Cecilia has used collage of sound or film or magazine pages to make work which is formally delicate and politically incisive. But her most recent show was more elusive; on the walls of a room painted grey green, with a kettle and coffee cups in the corner and glue and scissors lying on a table, were rows of white A4 sheets, a near geometric shape cut from images of bed sheets pasted onto the middle of each, like either one person’ s serial production (diary?) or the group work of a remedial ar t class; a fantasy of collectivism melded to the obsession of one. Alex Sainsbury is Director of a non-profit gallery under construction in London.
I am interested in the co-existence of opposing emotional states, in how a situation, image or scene can be simultaneously pleasurable and unsettling. By restricting the amount of information given, I intend to sustain a seductive state of play between hiding and revealing. My interest in the “found image”, particularly from magazines, lies within an interest in its relation to the time in which it is produced. I don’t use the source to depict current events, I use it because of its essential contemporary quality. It is an indirect way of commenting on the present, a poetic way of commenting on the here and now . Cecilia Bonilla was born in 1973 in Montevideo, Uruguay . She lives and works in London.
Solo exhibitions 2006 Tahiti, Reception Space gallery, London Group exhibitions 2006 Speakers Corner Meals & SUV’s gallery, London 2006 Real Proper Show Triangle Space, Chelsea College of Art and Design, London 2005 Unexpected Shoreditch Festival 2005 Think and Wonder, Wonder and Think, Museum of Childhood, London 2004 SV Open, Studio Voltaire, London 2004 XS, FA Projects, London 2004 Besame Mucho, Hoxton Hall Theatre, London
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Above: Cut-out nº14, 2005, cut-out magazine image, 11 x 10cm; far left: Untitled, 2005, digital video, 1’20” (looped); left: Cut-out nº31, 2005, cut-out magazine image, 17 x 24cm; right: Soft porn bed sheets (tired giant), 2006, magazine cut-outs on paper, 29 x 21cm
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Above: Seascape nº17, 2005, magazine cut-outs, 13 x 14cm; top left: A small house in the Swedish countryside, 2006, nail polish, blue tag, chewing gum on colour photocopy, 40 x 28cm; left (sequence): Reader’s Wives bed sheet’s and other connections, 2006, installation, Chelsea College of Ar t, London, dimensions variable
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PAUL BRANCA Nominated by Eva Scharrer
Paul Branca’s work formulates a new and dynamic relationship of painting to public space. In his projects, Paul seeks out systems of fragile economies as subject matter, critiquing the class separations that exist and are visible throughout peripheries of cities where workers are best kept hidden. His subjects range in content from communications to real estate, from health care to issues of identity, and the refusal of a conformist America. Branca’s work has a strong formal and c onceptual grounding and is thoughtfully concerned with its local background, social responsibility and choice of media. He constantly and successfully tries to extend the meaning and the possibilities of painting into the p ublic realm. His humorous Phone Card Paintings project (2004) consisted of original oil p aintings of kitsch motifs found on pre- paid phone card s, which the ar tist collected in his neighbourhood of Jackson Heights, Queens, but with an internal scratch off code that en ables the recipient to call his or her famil y anywhere in the world. The actual performance and free distribution of these paintings that required several months of studio production lasted less than one hour , but became an extremely interactive social event, that simultaneously prompted fundamental questions about globalization, the value of labour, painting, the market etc… Eva Scharrer is an independent curator and art critic, based in Basel, Switzerland. Paul Branca was born in 1974 in New Y ork, where he lives and works.
Left and right: Phone Card Paintings, 2004, Installation view, Jackson Heights, New York, oil on canvases with embedded scratchoff phone card code; above: Art History Graffiti (Italian Renaissance), 2005, New York, marker on wall, dimensions variable
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Education 2005 School of Visual Arts, New York, Summer residency 2001 CUNY, Queens College, New York, BFA Painting and Photography, BA Art History 1995 Scuola Lorenzo deâ&#x20AC;&#x2122;Medici, Florence, Italy, Painting and Printmaking Exhibitions 2004-2005 Queens International, Queens Museum of Art, New York Lectures 2006 Paul Branca, Artist Talk Series, The Experimental Space, Juvenal Reis Studios, Long Island City, New York
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Above: Ophthalmology, 2006, oil on canvas, 40” x 30”; left: Queens International Calling Center, 2004-2005, oil on panel, free functioning international phone line, installed at the Queens Museum of Art, Flushing, New York; right: Urology, 2006, oil and spraypaint on canvas, 40” x 30”
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ZOE BROWN
Nominated by Spartacus Chetwynd I have followed Zoe Brown's films over a period of 7 years. My first encounter was her BA show at the Slade... literally a floating woman... I was transfixed. Another such moment would be the MA show at RCA... and another at the Pavilion at Bexhill-on-Sea, 2006, a tiny projection of a naked 'one-man band' clashing around the skirting board of a darkened room... Her films continue to thrill me... they reference the British technicolour films of Po well and Pressb urger and they
question the traditional format of the 'screen'... mmmm Earlier this year I asked her to collaborate to make The Walk to Dover Film and another project called The Call of the W ild. I think she is a really talented and questioning film maker who deserves greater exposure. Spartacus Chetwynd is an artist. ZoĂŤ Brown was born in 1969. She lives and works in London.
Left: Eva, 16mm film loop; right: Dad, 16mm film loop; next pages (left to right): Paul, 16mm film loop; Tessa, 16mm film loop
Education 2004 MA Fine Art Sculpture, Royal College of Art, London 1999 BA Fine Art, Slade School of Art, London Solo exhibitions 2006 Parlour, VisionOn space, London Group exhibitions 2007 New Ross Tableau short film, Wexford, Ireland 2006 Black and Tan, London 2005 Variety, De La Warr Pavillion, Bexhill-on-sea, UK 2005 Peripheral Visions, video project and symposium, Cork Film Centre, Ireland 2005 FleaMarket II, Temporary Contemporary, London 2005 Love and Light, Barking, London 2004 Red Mansion Award, London and Beijing 2004 Timeshare 2, Trinity Bouy Wharf, London 2004 Big Chill, Dorset, UK 2004 Light Relief, Barts Hospital, London 2003 Timeshare, Bargehouse, London 2003 Together we are, Hockney Gallery, London 2003 Seeking and Summer Feted, Pause temporary space, London 2002 Great Gatsby, Landsdowne Club, London 2001 Camden Remix, Camden, London 2001 Whim, film installation, Grand Union Canal, Portobello Film Festival, London 2001 The Incorrect Russell Harper, A&D Gallery, London 2001 Waterwall, screening, Kings Cross, London 2000 Tow, Regents Canal, London 2000 One year residency, Watermans Art Centre, London
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BURNETT-ROSE Nominated by Meta Knol
Patrick and Heather Burnett-Rose are the most conscious, the most critical, the most passionate and the most utopian artists Iâ&#x20AC;&#x2122;ve ever met. Their intelligent deconstruction of the media in terms of message, strategy , visuals and content, combined with their pure engagement and their ability to produce high quality art works with a strong emotional and sensitive appeal, makes them into pioneers of the contemporary ar t field. Meta Knol is Curator of Modern and Contemporary Art at the Centraal Museum in Utrecht. Burnett-Rose live and work in Paris, London and N ew Zealand.
Below: Spit at Me, 2002, still from performance/installation; right: Witness: AnAesthetic, 2001, still from video installation
Group exhibitions 2007 Impakt Festival: Value Friction, Utrecht, Holland 2007 PILOT:3, Venice, Italy 2007 Ready Media, The Netherlands Institute For Media Art 2007 AIDS Exhibition, Yvon Lambert Gallery, Paris 2007 TBD, Museum of Modern Art, Belgrade, Serbia 2006 This is America, Centraal Museum, Utrecht, Holland 2006 Excess, Z33 Center for Contemporary Arts, Hasselt, Belgium 2005 Screening War, ZKM Media Center, Karlsruhe, Germany 2005 Critical Societies, Badischer Kunstverein, Karlsruhe, Germany 2005 ICA (Institute for Contemporary Arts) London Laocoon Devoured, Art and Political Violence, DA2, Salamanca, 2005 LD, Centro Jose Guerrero Museum, Granada, Spain 2005 Channel-O, Smart Project Space, Amsterdam 2004 Laocoon Devoured, Museum of Contemporary Art, Vitoria, Spain 2004 Terror Chic, Galerie Magers/Sprueth Munich, Germany 2003 Home at last, Harewood House, Yorkshire, UK 2003 Imperial War Museum, London 2003 Apfelboek, Lothringer 13, Videoprogram, 2003 Ingaland, Galerie Barbara Thumm, Berlin 2003 Nation, Frankfurter Kunstverein, Frankfurt, Germany 2003 M-ars, Kunstmuseum Joanneum, Graz, Austria Witness, Care-of, Milan, Italy 2002 Spit at Me, Public performance, Centre Pompidou, Paris 2002 Hartware, Dortmund, Germany 2002 Dark Spring, Ursula Blickle Stiftung, Karlsruhe, Germany 2001 Trajectories, Museum of Modern Art, Rio de Janeiro 2001 The Possibility of Empathy, The Agency Contemporary, London 2001 Fresh and Upcoming, Frankfurter Kunstverein, Germany
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Clockwise from top right: War on Women, 2006, installation with silicon sex dolls, digital prints 400 x 300cm, film & text; Voice of God, No.16, 2005, Digital prints on resin canvas; Objects of Desire, 2007, still from video installation with digital prints on resin canvas
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WARGASM, 2003, film installation
The Wall, 2004, 4 screen film installation
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Asylum, 2006, 5 screen video installation with witness stand, text on walls
Lexicon: sub-liminals, 2006, 10 par t film installation with large scale mesh banners
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ANDREA BÜTTNER Nominated by Chus Martinez
Andrea Büttner is a German ar tist based in London, working primarily with the notion of 'shame'. T aking as her star ting point an idea that is seldom addressed in contemporary ar t practice, she has developed a series of installations based on a dialogue with famous Modern ar tists. The work revolves around the fear of anachronism, the shame not to be in today's world, not to use today's media. In her work, Büttner has succeeded in translating an intellectual exercise into a very powerful visual constellation. Chus Martinez is curator at the Sala Rekalde in Bilbao, Spain, and Director of the Frankfurter Kunstverein. Andrea Büttner was born in Germany . She lives and works in London.
Top left: I was uncool before you were uncool, 2004; above: Donkeypicture, 2005; right: Grill, 2006; Braunes grid, 2006 Education 2005-2007 PhD candidate, Royal of Art, London 2003 MA in Art History and Philosophy, Humboldt University, Berlin 2000 MA in Fine Art, UdK Berlin Solo Exhibitions 2007 Roth Ecke, The Return, Dublin 2006 Tölzblock, Rachmaninoffs, London Group Exhibitions 2007 Overtake, Lewis Glucksman Gallery, Cork 2007 Species of Spaces and Other Pieces, Hollybush Gardens, London 2007 Pensée sauvage – On Human Freedom, Frankfurter Kunstverein/ Ursula Blickle Stiftung 2006 Anxiety of Influence, The New Wight Biennial, UCLA, Los Angeles 2006 Bloomberg New Contemporaries 2006, Liverpool /London 2006 Happy Believers, 7. Werkleitz Biennale, Halle
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Above: Stone, 2004; top left: Shame in Venice, installation, 2005; left: I want to let the work fall down, 2006, right: Shitspace, 2006
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MAURO CERQUEIRA Nominated by Ricardo Nicolau
Mauro Cerqueira’ s body of work includes sculptures, installations, drawings as well as series of col laborations: he has put on, together with friends, numerous performances that recall glam-rock and punk shows, where we find an aestheticization of kitsch and the pairing of p opular culture’s detritus with fine ar t. Also in his s culptures we can find an embrace of the rough-hewn and the decayed, side by side with science-fiction utopian images from the 50’s and 60’s like those of planets and rocke t ships. But drawing is the most important and extensive part of his work, and he is one of the many young artists that are infusing the medium with a renewed sense of urgency and showing that it is b ecoming more relevant as the primitive or low-tech seems nowadays to have a new resonance. Even his presence on the world wide web, with a blog called planetamauro [planet Mauro] plays, almost with adolescent humour , with the most digital of
mediums, presenting as a serious archive sketchy rough drawings of an incredible variety of everyday objects. This artist’s work cultivates and emanates what makes drawing what it is: the unfinished, the cheap, the in conscious, the imperfect. His pi ctures focus on the darker facets of the psyche, and the hazy sphere of personal obsessions. His peculiar iconography, violen t scenes of b lack humour replete with scatological and sexual allusions dealing in the conventions of the car toon, the comic strip and the “fanzine”, creates a u niverse t hat s wings b etween m elancholy a nd ecstasy, desire and despair, blood and human fluids. Ricardo Nicolau is a writer and curator, and is deputy to the Director in the Serralves Museum, Porto. Mauro Cerqueira was born in 1982 in Guimarães. He lives and works in Guimarães, Portugal.
Left: Rocket Ship, 2006, Projecto Apêndice, Oporto, installation on a shopping center from the 1970s; facing page, clockwise from top: Fuckers, 2006, Wasser-Bassin, Oporto, exhibition view, mural: Indian ink on wall, variable dimensions, drawings: Indian ink on wall, 42 x 29.7cm; Planet Mauro publicity, 2007, presented in the web project: www.planetamauro.blogspot.com, pencil on paper, 21 x 29.7cm; Domínio, 2007, video still, 2’41”, colour, sound
Education 2006 PG Fine Art, Escola Superior Artística do Porto, Guimarães, Portugal 2005 BA Fine Art, Escola Superior Artística do Porto, Guimarães, Portugal Solo exhibitions 2007 Base, Atelier da ESAG, Guimarães, Portugal 2006 Rocket Ship, Projecto Apêndice, Porto 2006 Fuckers, Wasser-Bassin, Porto 2005 Lucy In The Sky With Diamonds, Espaço Transportável, Jornal Notícias de Guimarães, Portugal Group exhibitions 2006 Festival Sincero, Flanela de Tal, concert/installation collaboration with Isabel Carvalho 2006 Que Inferno!, Espaço, Centro de Desastres, Lisboa 2006 Operação Transbordo , Projecto Teleférico, Guimarães, Portugal 2006 Wacky Races, collaboration with André Sousa, PÊSSEGOpráSEMANA, Porto 2005 27 artistas uma casa a demolir, Laboratório das Artes, Guimarães, Portugal 2005 Susy, collaboration with Isabel Carvalho, Espaço Transportável, Jornal de Notícias de Guimarães, Portugal 2005 T.ARTE, public art show in Guimarães, Portugal 2005 Aranha.máquina.giz. Laboratório das Artes, Guimarães, Portugal Web projects Planeta Mauro, www.planetamauro.blogspot.com Flanela de Tal, collaboration with Isabel Carvalho, www.myspace.com/flaneladetal
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Right: We have an opinion, 2006, ink on paper, 21 x 29.7cm; below: Untitled, 2006, projecto Teleférico, Guimarães, detail from an intervention on the landscape, spraypaint on card box; far right: Flanela de tal, 2006, collaboration with Isabel Carvalho, www.myspace.com/flaneladetal, image from the concer t and installation at “Festival Sincero”, Oporto
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TOMAS CHAFFE Nominated by Dan Tombs
Tomasâ&#x20AC;&#x2122;s current work examines the space and context within which artwork is commonly shown, he observes the structures and parameters that regulate museums and ar t galleries providing the viewer with subtle interventions to the system. It is this subtlety that appeals to me, the work is always meticulously executed and works co-operatively with the space. The aesthetic is carefully considered but the work also asks questions about the socio-political and historical aspects of the spaces the work exists in. In doing so there is a hope that the ar tist can pose debate or shifts in the settings ar t is commonly shown and viewed. Dan Tombs is Assistant Curator at Norwich Gallery, UK.
Tomas Chaffe was born in 1980 in N ottingham, where he lives and works.
Above: Props, 2007, adjustable ceiling props, Prizewinners, Surface Gallery, Nottingham; left: Temperature Rising, 2006, temperature module and probe, Open Show, Surface Gallery, Nottingham
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Education 1999-2003 Manchester Metropolitan University, BA (Hons) Fine Art Group exhibitions 2007 Out Of Place - Parade, Angel Row Gallery, Nottingham 2007 Your Life Is Now A Little Shorter, Guildhall Theatre, Derby 2007 Ariston, Moor Street Station, Birmingham 2007 Prizewinners, Surface Gallery, Nottingham
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2006 Just For One Day, Kadist Art Foundation, Paris 2006 Year 06 Art Projects (with Moot Gallery), London 2006 Open Show, Surface Gallery, Nottingham 2006 Objects In Waiting, End Gallery, Sheffield 2006 Six Shows In Six Weeks, Moot Gallery, Nottingham 2006 The Trent Valley (as Via Vaudeville!), Nottingham 2006 May Event! (as Via Vaudeville!), Nottingham
2006 Beneath, Surface Gallery, Nottingham 2006 Quatermass, Bloc Space, Sheffield 2005 Post Notes, Midway Contemporary Art, Minneapolis USA 2005 Post Notes, ICA, London 2003 Post It Note Show, Floating IP, Manchester 2003 Eve of Destruction, International 3, Manchester Awards 2006 Nominated for Beck's Futures 2006 2003 British Airways Artist Travel Award
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Above: As The World Goes By, 2007, clothed mannequin, Ariston, Moor St. Station, Birmingham; top right: Solar-panelled Floor At The Ernst Ludwig Kirchner Museum, 2005, Digital print; right: The Presentation of Resource (1), 2007, beech plywood and castors, Your Life Is Now A Little Shor ter, Guildhall, Derby
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JASMINA CIBIC Nominated by Gerard Hemsworth
I nominated Jasmina for the quality of the questions in her work. She presents the fetish of the experience. Gerard Hemsworth is an artist and Professor of Fine Art at Goldsmiths College, University of London.
My work poses a parallel to the existing territorial marking of the traveller (spectator) and creates an architectonical framework which interrupts the normal flow of events and enhances the dialogue with the casual passer -by (a faux tourist). Space hybridisation takes place through site-specific interventions which through employment of personal poetics reconsider the current state of cultural re-branding. The focus of my engagement is not the packaged Exotic based on geopolitical reality of a territory , but the Exotic (non) defined in terms of its spatial and temporal factuality. Jasmina Cibic was born in 1979 in Ljubljana, Slovenia. She lives and works in London.
Above: Untitled (forged territories II), 2007; right: Boutique Airports II, 2006, simulated welcoming committees, in collaboration with Pihalni Orkester Kranj
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Education 2006 MA in Fine Art at Goldsmiths College, London 2003 Accademia di Belle Arti in Venice Group exhibitions 2007 Tourists Welcome, Ljubljana International Airport 2007 Forged Territories, Bearspace, London 2007 Catlin Art Prize, Ada Street Gallery, London 2007 Visitour, Galerija Ganes Pratt, Ljubljana 2006 PP Untitled/Fast and Lost, Bevilacqua la Masa, Venice 2006 Parklife, ZOO Art Fair, London 2006 George Polke, 46-68 De Beauvoir Crescent, London
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2006 Bad Girls & Bad Boys, Galerija Ganes Pratt, Ljubljana 2005 Markers V; Poles Apart / Poles Together, 51. Venice Biennale 2005 Everybody for Safari, festival, Visura Aperta, Momiano, Croatia 2005 Bon Voyage, Eurocity train, border crossing Villa Opicina 2005 89째ma collettiva, Bevilacqua la Masa, Venice 2004 Dafne revisited, Galleria A+A, Venice 2004 Q 13, Centro Culturale Candiani, Mestre 2004 Waiting Room Station No.2 Sarajevo, National Gallery of BiH, Sarajevo 2004 AGORA, Transition Gallery, London
2004 So, when do we leave for Alpha Centauri?, Galleria Porta degli Angeli, Ferrara 2004 Gemine Muse, Museo Navale, Venice 2004 Passaporta art group shortlisted for Premio Furla, Galleria d'Arte Moderna, Bologna 2003 Waiting Room, 11 Biennial of Young Artists COSMOS, Athens 2003 The Big Bright Blue Factory, ACTV vaporetto, Venice 2002 85째ma mostra collettiva, Bevilacqua la Masa, Venice 2002 Forme umane, Bevilacqua la Masa, Venice 1999 Percorsi d`Arte, Galleria d`Arte Moderna, Bologna
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Left: The Green House Effect (52º 51’ 07,68” N, 1º 06’ 28,04” E), 2006; right: Boutique Airports I, 2006, fabricated runways, in collaboration with Slovene Police; below: Everybody for Safari, 2005, site-specific installation, Momiano, Croatia, mixed media, sound system
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DECLAN CLARKE Nominated by Sarah Pierce
My reasons for nominating Declan Clarke arise out of the camaraderie we shared recently while showing together in Moscow. During this trip, I joined Declan on an excursion to the VVT, where he wanted to do some filming. He showed me the Fountain of the Friendship of the Peoples , which is the title he chose for a collaborative installation between himself, Goshka Macuga, and Grant W atson (2002). Much of Clarke's work connects his interest in political/socialist history with contrasting personal encounters with communism – and it is through these connections that Clarke incites a contest between political stories and personal lives that is at the crux of any notion of ‘representation’. How we negotiate what we care about with who we are. In Mine Are of T rouble (2006),
Solo exhibitions 2006 Mine Are of Trouble, Art Now Lightbox, Tate Britain, London 2006 Trauma and Romance Off-site Project for Gallery 3, Douglas Hyde Gallery, Dublin 2006 Mine Are of Trouble, FOUR, Dublin 2004 Artists Project, Cabinet Magazine 2003 Metempsydoughsis, Rubber Bar, Swiss Institute, New York 2002 The Friendship of the Peoples (Goshka Macuga & Declan Clarke), Project, Dublin 2002 Here Comes Everybody, Henry Peacock
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Clarke’s interest in Rosa Luxemburg as an historical figure migrates into his personal life through his desire to divine a legacy – for himself, and for Rosa. This video, as with other projects such as Tischtennistisch (2005) with Paul McDevitt, and I Have Doubts (2007) , along with his curatorial projects, involves sharing one’s experience and the incidents of political attachment as (collective) forms of distribution. Sarah Pierce is an artist who lives in Dublin and organises the Metropolitan Complex.
Declan Clarke was born in 1974 in Dublin, lives and works in London.
Gallery, London 2002 Yawn A More Roman Way, Process Room, Irish Museum of Modern Art, Dublin Group exhibitions 2007 Left Pop, Moscow Museum of Modern Art, Moscow Biennale 2006 Enthusiasm, Frieze Projects, Frieze Art Fair, London 2006 To Hell with Dixie, Gallerie Groeflin Maag, Basel 2005 Encounters with the Subordinary, The Royal Academy, Hornsey Pumphouse Gallery, London
2005 Communism, Project, Dublin 2004 Tonight, Studio Voltaire, London, curated by Paul O’Neill 2004 Slim Volume, curated by Andy Hunt, print project 2004 Motes in All Eyes, The Ship, London 2003 Breaking Away, International Studio Program Exhibition, PS1 MOMA, New York 2003 To What End? curated by John Weeden, Center for Curatorial Studies, Bard Museum, New York 2001 Pot Luck Video Fest, Tokyo Opera City, Tokyo, Japan 2001 Faster Faster, Kill Kill, Henry Peacock Gallery,
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Left, above and right: Mine Are of Trouble, 2006, video stills, DVD, 15’50”
London 2001 Run Away, (with Cathal Connaughton), Project, Dublin Curatorial projects with Paul McDevitt 2007 Generator One, a series of site specific commissions in the West Midlands for the Arts Council of England 2005 Björn Dahlem, Matt Calderwood, Sophie von Hellermann, Ian Kiaer, Cornelius Quabeck, Dublin City Gallery, Hugh Lane, Dublin 2001 Play It As It Lays, London Institute Gallery, Millbank, London
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2000 Die München Sonne, Maximilliansforum, Munich 1999 The Armchair Project, Cinch, London 1999 Dust Up – Two Down, The House, Chelsea College of Art, London Residencies 2003 P.S.1 International Studio Program, P.S.1 MOMA, New York 2002 Artist in Residence, Irish Museum of Modern Art, Dublin 2001 Saatchi Fellowship, Artist in Residence, Chelsea College of Art, London
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Above: Trauma and Romance, 2006, video stills, DVD, 8’36”; right: Trauma and Romance, 2006, installation view from the Shaw Birthplace, Dublin, Douglas Hyde Gallery, Gallery 3 off-site project, curated by Gavin Delahunty. Photograph by Rory Moore
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EDUARDO CONSUEGRA Nominated by José Roca
Eduardo Consuegra’ s non-altered photographs confront the viewer with an image that has the visual complexity and stylistic paradox of a photographic collage, showing the effects of urban development gone awry because of its unmediated subjection to the logics of capital. The subject in Consuegra’ s photographs is urban space, and, more specifically Bogotá, his native city. A bustling metropolis of nearly eight million people, Bogotá has suffered the effects of an accelerated and anarchic growth, which was exacerbated since the 1950s. Consuegra shoots his images with a large-format camera and with a closed diaphragm so as to have an extremely ample depth-of-
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field that allows the images to be read as pure surface. Thus, the different layers of the city he por trays (historical, stylistic) are subsumed within a unifying foreground, which results in a tension between the multiple layers depicted and the homogeneous surface of the photograph, between the reality of the city and the reality of the image. José Roca is a curator based in Bogotá, Colombia. He is Director of Arts at the Banco de la República. Eduardo Consuegra was born in 1974 in Bogotá, Colombia. He lives and works in Los Angeles.
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Education 2005-2008 MFA, Art Center College of Design, Pasadena, California 2001 BFA, Universidad de los Andes, Bogotá, Colombia Solo Exhibitions 2007 Untitled (“desperate but not serious”…), Art Center College of Design, Pasadena, California 2007 Untitled, Paul Petro Contemporary Art, Toronto, Canada 2006 Backwards, Art Center College of Design, Pasadena, California 2006 Observation Deck, Art Center College of Design, Pasadena, California 2002 Avenida (calle), Alianza Colombo-Francesa,
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Bogotá, Colombia Group exhibitions 2006 Dark Places, Santa Monica Museum of Art, Los Angeles 2005 InSite 05, Museum Exhibition, Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art, curated by Adriano Pedrosa, San Diego Museum of Art, Centro Cultural Tijuana, San Diego 2004 39 National Art Show, Museo de Arte Moderno, Bogotá 2003 To Be Political, It Has to look Nice, Apexart, New York 2001 El Grupo de los Miercoles, La Panaderia, Mexico City
Above: 5th Av, 28th Street, 2003, colour photograph, 30’ x 36’; left: 15th Street, 3rd Av., 2003, colour photograph, 30’ x 36’
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Above: Detail from Untitled, small cats and 24’ x 26’ white; left: Detail from Untitled, Amparo, Cristal and 29’ x 30’ black; facing page (top to bottom): Detail from Untitled, 28’ x 28’ x 61’ foam rubber and paint; Untitled (‘Desperate but not serious...’), installation shot
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PHIL COY Nominated by Dan Kidner
Over the last few years Phil Coy has produced work of increasing complexity a nd s ubtlety. R outed i n s culptural c oncerns a nd ranging a cross vi deo, p hotography a nd p erformance h is w ork has explored different processes of translation, or the conversion of one form of representation into another. Omega (2004), a single screen video projection, made during a residency in T rinidad, captured Soprano singer Germain Lewis of the Lydians Choir holding a single note at a redundant Omega tracking station in Chaguaramus. The tracking station is one of eight that were built and together formed the worlds first Global Navigation System. Decommissioned in 1977 the Omega system used longwave radio transmitters instead of satellites, which are the foundation of current GPS. In Black Spot (2005), realised for the exhibition, Real Estate at the ICA, London, Coy focused this time on satellite based GPS technology. He first obtained a satellite image of Hyde Park and then pinpointed a single pixel and mapped it to the actual area that it represented. This square of land was then covered with black polythene. This interrogation of digital and analogue representations of the earth’s surface formed the basis for a number of other recent works including Provincial Landscape (2007), made for an exhibition at the Ars N ova Museum, Turku, Finland. Test Signal (2006) performed at the South London Gallery utilised a p iece o f s oftware t hat t he a rtist c ommissioned c omputer
Education 2000 MA Fine Art, The Slade, University College London 1995 Post Diplome, L'ecole des beaux arts, Nantes, France 1993 BA Fine Art, John Moores University, Liverpool Solo exhibitions 2006 Portraits, City Projects, London 2006 Test Signal, South London Gallery, featuring the New London Chamber Choir 2005 Ten and a half square miles against reason, 198 Gallery, London Group exhibitions 2007 DiY, Ars Nova Museum, Turku, Finland 2006 Phil Coy & Dave Carbone, Andrew Mummery, London
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programmer Mar tin Gladdish to develop. The programme enabled sound to modulate the colour bars of the television test signal in real time. A projected image of these modulations of the test signal was installed above a choir whose imitation of the test signal t ones, s et t he c olours, a nd a s t he t imbre o f i ndividual voices began to deviate from the set tone, the colours followed. Another series of works that have similarly reinterpreted their source material in surprising and, often humourous ways are the ‘Drum Lectures’. These works, made in collaboration with artist and drummer, Dave Carbone, involve Coy taking written notes, made at a number of conferences on contemporary ar t, and isolating cer tain phrases that appealed to him. T aken out of context the phrases form a compulsive, and frequently hilarious, incantation. Carbone drums a rhythm, which in Reminisce This (2003) is played until the point of exhaustion, giving the work its duration whilst forcing Coy’s pattern of speech. Coy critically examines the idea that the work of ar t is simply a machine for producing ideas, and as a result manages to interrogate the legacies of conceptual, performance and participatory practices from the 60s and 70s without defaulting to neo-conceptual tropes or rehashing old ideas. Dan Kidner is Director of City Projects, London. Phil Coy was born in 1971 in Gloucester , lives and works in London.
2006 Give Away ev+a, curated by Katerina Gregos, Limerick, Ireland 2005 Right Brain Tests for Artists, Beaconsfield Gallery, London - Drum Lecture with Dave Carbone for Bob & Roberta Smith 2005 Real Estate: London in Six Easy Steps, ICA, London 2005 Cloud & Vision, Museum for Garden History, London 2004 Incommunicado, Haywood Gallery Touring Show; Sainsbury’s Centre, Cornerhouse, Manchester, and Edinburgh City Museum Residencies and awards 2005 Residency at Lambeth Archives 2004 International Fellowship at C.C.A, Trinidad / Gasworks Gallery
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Top: Test Signal, 2006, rehearsal with The New London Chamber Choir, South London Gallery; above: Test Signal, 2006, production diagrams and scores representing the relationship of a choirs voice to individual colour bars
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Top left: Omega, 2004, video still, DVD, 3’10”, colour, multi-channel, sound; far left: Provincial Landscape, 2007, photo document, 17m2 of boards reproduced from a satellite photograph at a 1:1 scale and installed in the place they represent: Leito, Finland; left: Black Spot, 2005, photographic prototype of 30m 2 pixel replacement, Hyde Park, London; right: Reminisce This, 2003, first of the Drum-Lecture series with Dave Carbone, video stills from performance lecture for camera, DVD, 10’
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BRIAN DAWN CHALKLEY Nominated by Canal
Canal admires the performances, videos and paintings of Brian Dawn Chalkley for their perverse multiplicity . His work accommodates a number of different identities: a crossdressing monologist spouting an outsider’ s manifesto; the painter of claustrophobic interior scenes who pays homage to the sparse narratives of Pinter and Carver; a softly-spoken storyteller relating attempts to find sex in the wrong places;
and the filmmaker who shoots himself prone on the ground, as if already dead. Canal understands why an ar tist like Brian Dawn prefers the margins to the spotlight, but wants nonetheless to see her standing, looking stunning, in its cold white beam. Canal is Anna Colin, Matthew Darbyshire, Gareth Jones, Sarah McCrory and Olivia Plender. www.canalonvyner.org
I am not for the respectable face of drag, as parody, as vaudeville, as family entertainment. I am not for the transsexual who wants to be accepted as a real woman and fit comfortably within society. I a m f or th e t ranny s tanding o n P olk S treet i n S an F rancisco servicing the early morning workforce. I am for the badly applied make up. I am for the mirrored excess of beauty. I am for the void between the imagined and the so called real. I am for the painful lack of. I am for the broken aesthetic of the desirable. I am for the masquerade. I am for the attempt at the imagined. I am for the attempt at the desired. I am for the fake fur coat. I am for badly applied false eye lashes. I am for badly applied eye liner. I am for ill fitting plastic tits. I am for the John desperate for a fuck. I am for the John who can no longer get it up with his wife. I am for liars and con artists. I am for the John that gropes me in the dark. I am for the tranny waiting for her pay cheque from the John who says he loves her. I am for the tranny who gets me to buy a slice of pizza because she has no money. I am for the tranny whose cheap lipstick mixes with the tomato sauce. I am for the tranny whose make up has smeared through giving too many blow jobs. I am for the tranny who likes being fucked in the dark. I am for the tranny after a night out standing in the queue for a salt beef sandwich in E1. I am for the John who likes to watch me dance. I am for the John who wants to take me to a classy restaurant. I am for the John who thinks I'm beautiful. I am for the tranny who looks in the mirror and feels shit. I am for the tranny who feels and looks like a movie star. I am for the tranny who gets home without a fuck. I am for the tranny who looks like my aunt.
I am for the tranny who gets slapped around when the fuck goes wrong. I am for the tranny who can’t go out. I am for the tranny that says fuck you. I am for the seventy year old tranny dancing on the podium. I am for the tranny that walks down the street in daylight. I am for the tranny who shops in M&S. I am for the John who says I am not gay, I just like trannys. I am for the tranny who goes to work with last night’s mascara. I am for the tranny who longs for a permanent relationship. I am for the tranny whose persona is an act of survival. I am for the tranny whose persona is fuck you. I am for the tranny who stays in the dark room all night. I am for the tranny who gets her bag stolen in a porn cinema. I am for the tranny standing on the street waiting for the AA. I am for the AA man who says you look great, can I help you into the cab. I am for the tranny who likes threesomes. I am for the tranny who can’t tell his wife. I am for the wife who doesn’t know. I am for the John who did two years for G.B.H and now works as a carer. I am for the John who has a high powered job with H.S.B.C. I am for the John who say’s I wish I had met you before I got married. I am for the John who says I will phone you and never does. I am for the tranny who works 9-5 and goes clubbing every night. I am for the tranny who says I love you and doesn’t mean it. I am for the tranny who longs to wear her wife’s clothes. I a m f or t he t ranny w ho g oes o ut w ith n erds, t rainspotters, anoracks and criminals. I am for the tranny who arrives home from work and puts on a dress. I am for the tranny who can’t see the analyst any more because he’s shit. I am for the tranny who wants to be loved. I am for the tranny who dresses to stop the pain. I am for the tranny washing the cum of her skirt. Brian Dawn Chalkley, January 2005.
Above: Manifesto Of A Tranny, 2005; right: Performance, 2006. Photograph by Betty Borthwick
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Solo exhibitions 2001 Dawn in Wonderland, Platform, London 1999 Platform, London Group exhibitions 2006 Peace show, 196 Brick Lane, London, curated by Bob and Roberta Smith 2006 Performance at Canal plus at Vilma Gold Gallery, London 2006 Performance for Charles Atlas show, Vilma Gold Gallery, London 2006 Drawing from Turner, Tate Britain, London, curated by Stephen Farthing 2006 Mark McGowan Festival Ideas, Zoo Art Fair, London, curated by Dave Beech 2005 Resonance FM, Make your own Damn music, Bob and Roberta Smith 2005 Performance at Cabaret Melancholique, De La Warr Pavilion, Bexhill-on-Sea, curated by Brian Catling 2005 Les Merveilles du Monde, Musee des Beaux
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Arts, Dunkirk 2005 Thereâ&#x20AC;&#x2122;s always an alternative, temporarycontemporary, London, curated by Dave Beech & Mark Hutchinson 2004 Beyond the Digital Surface, EWHA Gallery, Korea 2004 My Kylie, performance night, ICA Bar, London 2003 Honeytrap, 38 Langham St., London, curated by Alex Sainsbury 2003 Ponce, The Ship, London, curated by Nick Evans 2002 Non Plan, Domo Baal Contemporary Art, London 2002 Story Teller, Kinnijoe Space, Hamburg, Germany 2002 Retrospective 99-02, Cab Gallery, Essor Gallery Project Space, London 2001 No. 5 Looking With/Out, Eastwing Collection, Courtauld Institute, London 2001 What if I told the Truth, Cell Project Space,
London 2001 25th San Francisco Lesbian and Gay Film Festival 2001 City Racing, ICA Gallery London, curated by Matthew Higgs 2001 ARCO Art Fair, Madrid 2000 Death Race 2000, Threadwaxing Space, New York, curated by Rachel Lowther 2000 Inside Out, Gay and Lesbian Film Festival, Toronto, Canada 2000 Sound Video Show, Arnolfini Gallery, ASBAEK, Copenhagen and Nottingham, curated by Catsue Roberts 2000 291 Gallery Group Show, London 2000 Crack is Wack, Transmission Gallery, Glasgow 1999 3rd International Transgender Film and Video Festival, Lux Cinema, London 1998 Motherload, Brian Dawn Chalkley, Jemima Stehli & Hillary Lloyd, City Racing No. 48, London
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Left: Hotel Room 1, 2006, oil on board. Photograph by Betty Borthwick; above: Hotel Room 2, 2006, oil on board. Photograph by Betty Borthwick
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MATTHIJS DE BRUIJNE Nominated by Phillip van den Bossche
Matthijs de Bruijne multimedia installations are often a reflection of anthropological research, in which encounters and exchanges based on the principle of reciprocity form the basis. He wants to limit his own role as much as possible and uses sound, voices and series of slides to create non-interpretive factual accounts. December 2001 and his first working period in Argentina can be seen as a major and radical turning point in his method of working. Matthijs de Bruijne landed in the middle of the social reality of a bankrupt state. He made contact with the ‘cartoneros’: the poorest group of Buenos Aires that lives from collecting and selling garbage and designed for them a post order website where their objects and dreams are offered for
sale. This experience proved how tangible and personal politics can be and confronted the ar tist with the W estern dilemma to always be able to come and go again. The work of Matthijs De Bruijne has been shown amongst others in the Van Abbemuseum in Eindhoven, the exhibition Ex-Argentina in Museum Ludwig in Cologne and his installation Dependance Buenos Aires was shown in the exhibition Be what you want, but stay where you are in Witte De With, Rotterdam. Phillip van den Bossche is an art historian and curator at the Van Abbemuseum, Eindhoven. Matthijs de Bruijne was born in The Netherlands in 1967.
Exhibitions 1996 Mothership Connection, in collaboration with Erik Weeda, Stedelijk Museum Bureau, Amsterdam 1997 ~speakers, in collaboration with Arnout Killian, W139, Amsterdam 1998 The Analysis of an Unknown Object, La Biennale de Montréal 1999 Doel Zonder Oorzaak, W139, Amsterdam 2000 Scripted Spaces, Witte de With, Rotterdam 2001 Een lege plek om te blijven, Watou, Belgium 2001 You never walk alone, STROOM, The Hague 2002 Regionalisten, PRPL FBRK, Nijmegen 2002 Side Effects, Irida Foundation, Sofia, Bulgaria 2003 Liquidacion.org, Van Abbe Museum, Eindhoven 2004 Ex-Argentina, Ludwig Museum, Cologne 2004 ¿Com volem ser governats?, MACBA, Barcelona 2005 o.T. [City IV], Galerie für Zeitgenössische Kunst, Leipzig 2005 Be what you want, but stay where you are, Witte de With, Rotterdam 2005 El Comedor, VRIZA, Amsterdam 2006 La normalidad / Ex-Argentina, Palais de Glace, Buenos Aires 2006 Transformatorhuizen, 66 East, Amsterdam Website projects 1998 The Analysis of an Unknown Object, outsite.net/analysis 1999 Medium for Exchange, outsite.net/exchange 2000 Their City, outsite.net/theircity 2001 It’s not what it seems to be, outsite.net/itseems 2002 A Similar Place, www.artengine.ca/asimilarplace 2003 Liquidacion.org, www.liquidacion.org
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Above: Dependance Buenos Aires, Investigation/Installation Witte de With 2005 The archive of SECLO, an institution of the Argentinean Ministry of Labor established as an obligatory pre-court mediation service for labor conflicts: on the shelves, the colour pink prevails. These are files containing complaints issued by employees against their employers. Dependance Buenos Aires investigates the consequences of the social and economic reforms which transformed Argentina during the 1990s. Attracted by the new conditions, multinational companies installed themselves in the country. Among them was ING Insurance, a Dutch company specialising in life insurance. In this installation, two former ING salesmen reveal their seductive strategies. Utilising the image of an orange lion, they invited potential clients to “become part of the dominant species.” The company’s advertising campaigns emphasised its “seriousness and reliability.” “Dutch Excellence” sold very well. In February 2004, ING surprisingly closed its branches
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and dismissed its sales team. An ING spokesman explained: “Big multinationals work with market compensation and when there is a problem in one country , investments are shifted to another.” In the SECLO archives, hundreds of pink files carry the name ING Insurance on the cover sheet. Left: Liquidacion.org, Website/Installation, Van Abbe museum 2003, Ex-Argentina 2004 In 2001 De Bruijne first visited Argentina, originally with the goal to examine similarities between Buenos Aires and his home base Amsterdam, based on meetings with Argentineans. He landed however in the middle of the social reality of a bankrupt state. Soon his engagement became political. He made contact with the ‘cartoneros’: the poorest group of Buenos Aires that lives from collecting and selling garbage. He designed for them liquidacion.org: a post order website where objects and dreams of the cartoneros are offered for sale.
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Left: El Comedor, Installation VRIZA Amsterdam 2005/Ex-Argentina Buenos Aires 2006 In 2003 De Bruijne received a present, a ‘holiday’ from the 'liquidacion cartoneros'. He was allowed to travel with a food-transport that these poorest of the capital organised for the even poorer in T ucumán, in the northwest of Argentina. Tucumán was at the end of the sixties the subject of a socially engaged art movement: the Tucumán Arde. The area had fallen into crisis by the closure of the sugar plantations; a crisis that continues today . Artists came to Tucumán to examine social injustice. The efforts of Tucumán Arde shifted between political and artistic practice. Part of the movement in the end chose concrete resistance and stopped making art. Tucumán, with its history of social injustice and as cradle of artistic social engagement, fascinated De Bruijne. When he returned in 2005, he wondered
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how one could, 40 years later, still create an honest socially engaged work. Are the former strategies still useful in this dystopian time? Is it even possible to practice socially engaged art? And what would it look like? El Comedor consists of a dual representation of the daily running and going of a soup kitchen in Tucumán.
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Above: Monument voor de Indonesië-weigeraars in de Indische Buurt , Investigation CD/Temporary monument Amsterdam 2006 Indonesië-weigeraars is a group of 6000 Dutch soldiers who refused to fight during the 'Police Actions' (Indonesian War of Independence 1945/1949). One thousand two hundred of them were sentenced to jail where they had to share cells with second world war criminals. This part of the Dutch history is still taboo in the Netherlands. Matthijs de Bruijne investigated the possibility of a monument for these Indonesië-weigeraars in the Indische Buurt, an Amsterdam immigrant neighbourhood in which during the last year a process of gentrification has started. De Bruijne regards the negation of these conscientious objectors, their 'NEE', as a positive act. This ostensible contradiction is materialised in the design for the monument. He proposes this monument as an useful political image for new and old inhabitants of the Indische Buurt.
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STEPHEN DUNNE Nominated by Mark Titchner
In h is p oetic p rimer ‘ The P edagogical S ketchbook’, P aul K lee describes the act of drawing as akin to taking a line on a walk; a walk ‘without goal, a walk for walk’s sake’. And so the drawings of Stephen Dunne begin, from the arc of stroke or the trajectory of a s plash o f i nk. W ithout v isual s ource m aterial t he i mages grow, as a semi-automatic uncluttering of the ar tists subconscious: febrile images and psychotic car toons. The iconography o f D unne’s d rawings a nd p aintings v eer, w ith n o discernable e ffort, f rom t he e phemera o f e xtreme m usic t o religious ic ons t o s urgical n ightmares. T his a pproach e merges from a Guston-like epiphany that the artist can paint the chaotic nature of the world rather than denying it. What he exposes is the mark bound by the collective unconscious… The M agus and artist Austin Osman Spare describes h is o wn i diosyncratic s ystem o f m ark m aking a nd automatic d rawing, a s a ‘ means o f g uiding a nd u niting t he
partially free belief’ and further into his rambles, Klee’s passage of the line becomes a projection of energy and finally a ‘symbol of will a nd i nfinity’. T he a ct o f d rawing b ecomes a me ans o f transcendence.The fact that Dunne's drawing holds a (muddy) mirror t o o ur R orschach b lot-like n eed t o l ocate p sychosis a nd shade i n t he a rbitrary, s hows h ow f ar w e a re f rom a s tate o f shared grace. However, as he continually points out there is not only a great pleasure and humour to be found whilst picking at this p articular s cab, b ut i t a lso r eminds u s t hat t his k not of compromise and angst is what makes us all human. Mark Titchner is an artist living and working in London. He was nominated for the Turner Prize in 2006.
Stephen Dunne was born in 1973 in Dublin. He lives and works in London.
Left: Worship the Dark, 2006, oil on paper, 150 x 150cm; right: The Sentinel, 2006, ink on paper, A4
Education 2001 MA Fine Art (Painting), Royal College of Art, London 1998 BA, N.C.A.D, Dublin Solo exhibitions 2006 Worship the Light / Worship the Dark, Bartletts Gallery, London Group exhibitions 2006 Twelve Days of Christmas, Gallery 39, London 2006 Deck of Cards, Gallery 39, London 2005 Xmas Tree, Gallery 39, London 2005 Pub Signs, Gallery 39, London 2002 Please Take One, Gallery 39, London 2001 Group Show, Paul Stolper Gallery, London 2000 T.I. Group Interim Show, Royal College of Art, London 1999-2002 RCA Secret, Royal College of Art, London
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Above: Being, 2005, oil on paper, A5; right: Graverobber, 2006, ink on paper, A4
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SEAN EDWARDS Nominated by Ryan Gander
I am nominating this ar tist because in the past encountering his work has given me hear t burn or an uncomfor table pain in my lower abdomen. Also because I know him to be an intelligent, interesting and a pleasant person who doesnâ&#x20AC;&#x2122;t name drop, live in London or attempt to verbally seduce curators. His ambition is not blood thirsty and he is seemingly more interested in making art than being an artist. These are all good things. Ryan Gander is an artist and the director of Associates, London.
SEAN EDWARDS
Sean Edwards was born in 1980 in Cardiff. He lives and works in Abergavenny, Wales.
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Education 2005 MA Fine Art, Slade School of Art, UCL, London 2003 BA Fine Art, University of Wales Institute, Cardiff Solo exhibitions 2007 Sean Edwards, Associates, London 2006 Sean Edwards, Stiwdio, Chapter Arts Centre, Cardiff 2006 Sean Edwards, S1 Artspace, Sheffield Group exhibitions 2006 Six Shows in Six Weeks, Moot, Nottingham 2006 Mostyn Open 06, Oriel Mostyn, Llandudno 2005 National Eisteddfod, Y Fellinehelli, Bangor 2005 Twenty to One, One Canada Square, Canary Wharf, London 2005 Super 8 Show, g39 Temporary Contemporary Artspace, Cardiff 2004 Launch Show, Station, Bristol 2003 New Art04, Washington Gallery, Penarth 2003 Catalyst, Tactile Bosh, Cardiff
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2003 ishow03, Rise Studios, Cardiff 2003 Exterior Shot, g39 Temporary Contemporary Artspace Cardiff 2002 super8station, Station, Bristol Curated exhibitions 2006 g39 Temporary Contemoprary Artspace, Cardiff 2005 Locker, Slade School of Art, London 2003 Exterior Shot, g39 Temporary Contemporary Artspace, Cardiff Residencies 2007 Gloucestershire Royal Hospital. Exilir Residency 2006 Chapter Arts Centre, Cardiff Awards 2005 Slade Project Award, Project - Locker 2004 Arts and Humanities Research Board Scholarship 2004 Young Artist Scholarship, National Eisteddfod 2003 Arts and Humanities Research Board Scholarship Collections Station, Bristol
Above: Painting of an empty RS box, 2006, oil on photocopy on board; left: Untitled, 2006, 1970s Tesco carrier bag, glass and household gloss paint
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Clockwise from above: un, 2007, newsprint collage, chipboard and pegs; Untitled, 2007, watercolour and pencil on card and paper; Orange Doors, 2004, household gloss paint, installation at the Slade School of Ar t, London; Untitled (Orange Doors), 20042007, Cibachrome
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MARTE EKNAES Nominated by Wolfgang Tillmans
Marte Eknaes uses the urban environment as source in her practice of making sculptures and drawings. She looks at the structures that hold things up, facades that present information and spaces in between the high concentration of transaction and consumption that takes place in the city . Using mainly (small scale) building materials such as Perspex, metal, tape, chain and glass, often combined with found par ts of office interiors and accessories she makes structures that operate in parallel to the ‘real’. However the functionality is removed and the structures are only holding themselves up and the displays are transparent units without anything to display. Materials intended for function are used for decoration, things that do not belong together are forced into relationships and other elements are stretched far apart, almost to a breaking point. She also reverts the idea of front and back by locating concentration of meaning on the slimmest side and leaving the presumed front blank and uneventful. The method of making and the form become the focus involving simple problems of
joining materials together and making structures stand up. But through rejecting the obvious and conventional solutions, this investigation becomes the basis for new tenuous, and temporary systems. Eknaes’ simple use of materials and basic forms connects her work historically to the minimalist tradition. And in her careful observation of a contemporary society consisting of unfulfilled connections and fragments, the manifestation of her feminine subjectivity and a practical use of economy of means, she is finding a new meaning in this term. Her work questions solutions we take for granted and locate political meaning in structures that have become unnoticeable. At the same time there is a corruption in her work that leads to a questioning of their own ability to present improved alternatives. Wolfgang Tillmans is an artist. Marte Eknaes was born in 1978 in Elverum, N orway She lives and works in London.
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Below: Exterior Relations, Splay (detail), 2006, glass, Perspex, MDF, card, perforated aluminium, tape, magnet, loops, paint and marker , 51 x 82 x 61.5cm; facing page top: Plan 3, 2007, pen and tape on glossy card, 29 x 42cm; facing page bottom: Plan 2, 2006, pen and tape on paper, 29 x 42cm
Education 2003-2004 MFA, Central Saint Martins College of Art and Design, London 2002 BFA, California Institute of the Arts 1998-2001 Glasgow School of Art Group exhibitions 2007 Bookish Relations, Anna-Catharina Gebbers / Bibliothekswohnung, Berlin 2007 Brennschluss, Andreas Huber Gallery, Vienna 2007 Inky Toy Affinitas, Cerealart Projectroom, Philadelphia 2006 Minotaur Blood, Fortescue Avenue, London 2005 Modified Uniforms, Blum & Poe, Los Angeles 2005 Stragedy, Art2102, Los Angeles 2004 SV 04, Studio Voltaire, London 2004 Restless Looks, Gallery Schaufenster, Oslo 2003 Emergence, Group Show, Track 16 Gallery, Santa Monica 2000 Untitled (sound installation), public art project, Queen Street Station, Glasgow 1999 Re-Interruption, public art project, Glasgow Residencies 2004-2005 Winter residency, Art2102, Los Angeles Curated exhibitions 2003 Foliage, garden group show, Los Angeles 2001 Co-organizer, Freezing Cold Gallery, Hollywood 2000 One Day Exhibition, Gorbals, Glasgow
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Above: Exterior Relations, Splay, 2006, glass, Perspex, MDF, card, perforated aluminium, tape, magnet, loops, paint and marker 51 x 82 x 61.5cm; left: Exterior Relations, Column, 2006 Decal, glass, Perspex, tape, chain, 212.5 x 25 x 11.5cm; right: Faux Faรงade, 2005, glass, stainless steel, Perspex, wall paper, 30 x 122 x 35cm. Courtesy Blum & Poe, Los Angeles
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RUTH EWAN Nominated by Pablo Lafuente
Ruth Ewan develops research-based projects that explore the manifestation and circulation of ideologies within different social contexts. She combines appropriated imagery , music and text with techniques for influencing and persuading her audience in an irrational attempt to inspire social change. Past works include Psittaciformes Trying to Change the World (2005), in which protest chants were taught to parrots, and A Jukebox of People T rying to Change the W orld, a CD jukebox containing a constantly growing collection of currently over 600 political songs. The images shown here are par t of a large, ongoing drawing project where the ar tist has invited young people to replicate images from selected radical literature. Derived from
illustrations of the likes of J. F. Horrabin – an English socialist, radical writer, cartoonist and political cartographer – that were originally published in The Plebs League magazine (1908-27), the drawings attempt to wryly explore how ‘alternative’ political ideals can be conveyed and encouraged. The project aims to enlighten or radicalise young people by bringing them close to political causes and exposing them to propaganda and the desire to believe with romantic idealism, while making them aware of the failings of any belief system. Pablo Lafuente is the managing editor of Afterall journal.
Ruth Ewan was born in 1980 in Aberdeen.
Left: Beggar my neighbour, 2007, felt pen on paper by Michael O’Donnell, aged 13 Right: Don’t be a robot!, 2006, felt pen on paper by James MacNally, aged 14
Education 2002 Edinburgh College of Art, BA (Hons) Drawing and Painting Solo exhibitions 2007 Ours is the World Despite All, Northern Gallery for Contemporary Art, Sunderland 2006 Psittaciformes Trying to Change the World, Studio Voltaire, London 2005 Psittaciformes Trying to Change the World, The Embassy Gallery, Edinburgh 2002 Temporary Community Centre, Collective Gallery, Edinburgh Group exhibitions 2006 EASTInternational, Norwich Gallery, Norwich 2005 Grate Britain, Cell Project Space, London 2004 The Birthday Party, Collective Gallery, Edinburgh 2004 The Medium is Tedium, Collective Gallery, Edinburgh 2003 Flix, Rubicon Gallery, Dublin 2003 Win together, lose together, play together, stay together, 28 Leven Street, Edinburgh 2002-2003 Bloomberg New Contemporaries Barbican Curve, London, and Static, Liverpool Awards 2006 EASTInternational Award 2002 Andrew Grant Bequest Travel Scholarship 2002 The Loomshop Gallery Award 1998-2002 The Meldrum Scholarship
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Above: He will be a smart policeman , 2007, felt pen on paper by Melissa McDonagh, aged 13 Right: Our leaders have become warminded , 2007, felt pen on paper by Kelly Reid, aged 12
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JEFF FELD Nominated by Chris Sharp
The works of Jeff Feld seem permanently perplexed by their own status as ar t objects, even dismayed and not quite reconciled to their duty to signify meaning. As such, not only do they beat the viewer to the punch (“What do I mean?”), they bluntly, if begrudgingly radiate a uniquely comedic and touching sense of humanity. Feld, a native New Y orker who came to ar t in his late thir ties after having worked for more than a decade as a social worker, addresses in his work such perennially crucial issues as religion and its function to produce meaning in our lives, as well as the sacred, failure, expectation, and, inevitably , disappointment. His carefully crafted objects are the fruit of
both an intuitive and rigorous practice, full of pathos, wit, and a genuine belief in ar t’s essential relevance. Chris Sharp is the N ews Editor of Flash Art. He is also an independent curator.
Observational in nature, my work is material, constructed of commonplace home and institutional matter that we encounter everyday. Sponges, the card board box, signage and the like, elegant and abject, my sculptures draw connections between, and highlight the everyday struggle of living. Jeff Feld lives and works in New Y ork.
Left: Even in the quietest moments, 2006, steel, detritus, 38” x 48” x 14”; right: The chance of a lifetime 1,2,3,..., 2006, artistmade candles, found cardboard boxes, dimensions variable
Education 2002 Parsons School of Design, MFA Group exhibitions 2007 The Drawing Center, Non-Declarative Drawing, New York. 2006 Galerie In Situ: Fabienne Leclerc, Evidences, or This Object of Desire, Paris 2006 Tastes Like Chicken Art Space, Make Over, Brooklyn, New York 2005 Columbia University, The Leroy Neiman Gallery, The Divine Body, New York 2005 Pablo’s Birthday, Multiple Partners, New York 2004 HereArt Center, EA50, Emerging New York Artists, New York 2004 Artists Space, Repeat Performance, New York 2003 Taxter and Spengemann Gallery, Scope Art Fair,
JEFF FELD
Miami, Florida 2003 Mary Goldman Gallery, Artissima 10, Internazionale D’art Contemporanea A Torino, Italy 2003 The Artist Alliance, Curator’s Choice: Jeff Feld, Robyn Jordan, New York 2003 The Mary Goldman Gallery, Jeff Feld, Scarlett Hooft Graafland, Los Angeles 2003 The Chelsea Hotel, Postcards From The Volcano, New York 2003 Flynndog Gallery, Cancelled, Burlington, Vermont 2002 Amenities, Scope Art Fair, organized by Pascal Spengemann, New York 2002 Gallery 28, Laboratorium, Savannah, Georgia 2002 Parsons School of Design, MFA Thesis Exhibition, New York
2002 New School University, Directed Dialogues, New York, organized by Stefano Basilico 2001 White Columns Gallery, Pranksters, New York 2001 Drew University, In Transit, Madison, New Jersey Affiliations The Viewing Program, The Drawing Center, ew York The Curated Slide Registry, White Columns Gallery, New York The Pierogi Flat Files, Pierogi Gallery, Brooklyn, New York The Northern Vermont Artists’ Association (New York correspondent) Collections New School University, New York
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Left: Performance of the only part of Robert Rauschenberg’s “Pelican” that I know, 2001, CPrint of artist in performance, 8” x 10”; right: Untitled (Exit), 2005, wax, candlewick, 37” x 12” x 2” far right: Madonna and Child (after Raibolini), 2003, Holy Water, compressed sponge (compressed sponge is exposed to Holy Water, creating a relief from which an image is formed), 48” x 40”; below: Untitled (Thanks in Advance), 2007, commercial floor mat, vinyl, 36” x 48”
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DANIEL G. ANDÚJAR Nominated by Antoni Muntadas
An artist who uses irony and presentation strategies that employ new c ommunication t echnologies t o q uestion t he d emocratic and equalitarian promises of these media and criticise the desire for c ontrol l ying b ehind t heir a pparent t ransparency. Ba sed o n the confirmation that new information and communication technologies are transforming our everyday life, Daniel G. Andújar c reated a f iction ( Technologies T o Th e P eople, 1 996) designed t o m ake u s i ncrease o ur a wareness o f t he r eality around us and of the deception in promises of free choice that are converted, irremissibly, into new forms of control and inequality. A l ong-time me mber o f irational.org (international r eference point f or a rt o n t he w eb) a nd f ounder o f Technologies To T he People, h e i s t he c reator o f n umerous p rojects o n t he I nternet such as art-net-dortmund, e-barcelona.org, e-valencia.org, eseoul.org, e-wac.org, e-sevilla.org, Materiales d e a rtista, e tc. H e has directed numerous workshops for ar tists and social collectives in different countries. Daniel G. Andújar works under the banner of Technologies To The People (TTTP), exploring vir tuality, authenticity, copyright, sponsorship, media and power as new technology and the access to it spreads across the globe. Instead of surrendering to the fetish-like quality of new technologies, TTTP focuses its attention on the battlegrounds that are emerging. Instead of complete rejection, TTTP has a pragmatic functionality when considering what could be in store, and our scope for action in a society immersed in rapid fundamental change. The friction in the work of TTTP lies in the apparent freedom of the Internet, the knowledge it holds, and who actually owns or distributes this knowledge as a means of developing power . Antoni Muntadas is an artist based in New Y ork. Daniel G. Andújar was born in 1966 in Almoradí, Spain.
Solo exhibitions 2006 HackLandscape, PhotoEspaña 2006, Matadero Madrid 2006 Postcapital, Con Carlos Garaicoa e IIvan de la Nuez, Palau de la Virreina, Barcelona 2006 e-sevilla.org, Centro de las Artes Sevilla, Spain 2003 Individual Citizen Republic Project™: El Sistema, Museu Comarcal Garrotxa, Olot 2001 The Power of Security, Visor, Valencia, Spain 2000 La Sociedad Informacional, MUA (Museo Universidad Alicante), Alicante, Spain 1998 Interface@metrònom.es, Fundació Rafael Tous d’Art Contemporari Sala Metrònom, Barcelona, Spain 1997 Wir Beobachten, Künstlerhaus, Dortmund, Germany Group exhibitions 2006 AYERMAÑANA, Facultad de Bellas Artes de Cuenca 2006 404 Object not found_Seoul, Total Museum of Art, Seoul
DANIEL G. ANDUJAR
2006 THE WONDERFUL WORLD OF IRATIONAL, Tools, Techniques and Events 1996-2006, Hartware MedienKunstVerein, at PHOENIX Halle Dortmund, Germany 2005 Nulles05, Contemporary Rural representations, Nulles, Spain 2005 Cabanyal Portes Obertes, Valencia, Spain 2005 Juego Doble: Mediactivismo y activismo en la red, with Fran Illich, Centro Cultural de España, Mexico 2005 MEDIASCAPES, curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Girona, Spain 2005 On Difference #1, 21, Württembergischer Kunstverein Stuttgart, curated by Iris Dressler and Hans D. Christ, Stuttgart, Germany 2005 Pintar sense pintar, Centre d’Art la Panera, Lleida, Spain 2005 Archive cultures: Representations, Monasterio de Nuestra Señora del Prado, curated by Jorge Blasco,
Valladolid, Spain 2005 MEDIASCAPES, curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Tarragona, Spain 2004 media_city seoul 2004, the 3rd Seoul International Media Art Biennale, curated by Johan Pijnappel, Liz Hughes, Hans D Christ, Tilman Baumgaertel, Seoul Museum of Art, Seoul 2004 _PROCESSOS_OBERTS_ curated by Manuel Olveira, Tarrassa, Barcelona 2004 MEDIASCAPES, curated by Montse Badia & Andreas Kaufmann, FUNDACIO LA CAIXA, Lleida, Spain 2004 Ambulantes, PORTABLE CULTURE, curated by Rosa Pera Centro Andaluz de Arte Contemporaneo, Monasterio de la Cartuja de Santa María de Las Cuevas, Sevilla 2004 Tour-isms, the defeat of dissent, critical itineraries, curated by Nuria Enguita, Jorge Luis Marzo, Montse Romani, Fundació Antoni Tàpies, Barcelona
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Above: Technologies To The People, 2000, La Sociedad Informacional, MUA (Museo Universidad Alicante), Alicante, Spain; facing page: Banket, (top) 2003, metabolismus und kommunikation, ZKM center for art and media, Karlsruhe, Germany; (bottom) On Difference #1, 21 May31 July 2005, W端r ttembergischer Kunstverein Stuttgart
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Above: Postcapital, 2006, Con Carlos Garaicoa e IIvan de la Nuez, Palau de la Virreina, Barcelona; top left: e-manifesta.org, 2002, Trespassing Space. Photograph by Bernd Bodtlaender; left: Individual Citizen Republic Projectâ&#x201E;˘: El Sistema, Museu Comarcal Garrotxa, Olot
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MARK GARRY Nominated by Nicola Lees
The indefatigable quantum physicist David Deutsch in his forthcoming publication 'The Beginning of Infinity' discusses 'Why are Flowers Beautiful' and provides a rational justification to nature's aesthetic hierarchies while classifying an objective idea of beauty that runs parallel with the qualia imbedded in personal interpretation. Mark Garry's installations interrogate aesthetic hierarchies through a lightness of touch evoked both through his choice of materials and his meticulous systems of construction. Measured and quiet, his sculptural notations hover between mythical spectrums, domestic objects, and architectural structures of some kind. They are fictions with a concrete appearance - reminiscent of something magical - drawing you away from the quotidian and into a world of revealing beauty . Spectra of thread playfully respond to a given architecture - their bare visibility mimicking the distor ted angles that are momentarily c reated b y b eams of l ight. T he m inute s cale, t he accuracy o f th eir a rrangement a nd t he te nsion o f e ach f ine filament c reates a s ense o f p resence. A nd ye t t heir f ragility
exposes the temporality inherent in their nature. These t aut compendiums are often accompanied by a fixed point, a folded leaf, fluorescent shadows, a sculptural or musical element, which adds another estranged component to the unfolding fiction. These spatial narratives expose the problems of classification. Hardly has one finished putting things into a desired order before that order is obsolete. The infinite number of possibilities and the near-impossibility of distributing them according to any truly satisfactory criteria means that one may never finally manage it; once again fuelling a mania for arranging. The outcome of all this leads to truly strange categories; a pathos reminiscent of the surreal episodes and intellectual experiments and aesthetic contemplation of Des Esseintes. Nicola Lees is assistant curator at the Irish Museum of Modern Art, Dublin. Mark Garry was born in 1972 in Mullingar , Ireland. He lives and works in Dublin.
Below: Element 32, it’s difficult to say, 2006, The Douglas Hyde Gallery, Dublin; right: Element 1 + 2: Ordinary, the Process Room, 2006, Irish Museum of Modern Ar t, Dublin
Education 2005 MA in Visual Arts Practices, DLIADT, Dublin 1997 BDes (interactive Media), DLIADT, Dublin 1996 Dip Fine Art, DLIADT, Dublin Solo exhibitions 2006 Gallery 2 The Paradise, Douglas Hyde Gallery, Dublin 2005 I’d Rather Dance With You, The Workroom Gallery, Dublin Group exhibitions 2007 Drawing 07, The Drawing Room, London 2007 REM, Temple Bar Galleries and Studios, Dublin 2007 All Colours Black, Ashford Gallery, RHA Dublin 2006 Making and Finding, The foundation to life, New York 2006 All Hawaii Entrées/Lunar Reggae, Irish Museum of Modern Art, Dublin 2006 The Square Root of Drawing, Temple Bar Galleries, Dublin 2006 Ireland at Venice, Lewis Glucksman Gallery, Cork 2005 Venice Biennial, Scuola di San Pasquale, Venice (Representing the Republic of Ireland) 2005 Frieze Art Fair, London 2005 Landscapes, The Dock, Co Leitrim, Eire (film
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collaboration with Karl Burke) 2005 Eurojets Anthology, Royal Hibernian Academy, Dublin 2005 Workroom Press, The Workroom Gallery, Dublin 2004 No one else can make me feel the colours that you bring, Temple Bar Galleries, Dublin 2004 3 person show, Kerlin Gallery, Dublin 2004 One up one down, Smithfield Village, Dublin 2004 Shop (mongrel foundation collective), IFSC, Dublin Curated exhibitions 2007 Orla Whelan, Goethe Institute, Dublin 2006 Plane, Royal Hibernian Academy, Dublin 2005 Borderline, 4 Gallery, Dublin 2004 Transit, Vis Arts at Dublin Fringe Festival 2003 Sited, Vis Arts at Dublin Fringe, presented in conjunction with Imma and the Hugh Lane Gallery Live performances 2006 Irish Museum of Modern Art, Dublin 2006 RHA, Dublin 2004 Project arts centre, Dublin 2003 Lazy Bird, Dublin 2002 Whelans, Dublin 2002 Temple Bar Music Centre, Dublin 2001 Poisonhats Festival, Project arts centre, Dublin
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How Soon Is Now â&#x20AC;&#x201C; Element 1 (above), Element 2 (right), Element 3 (left), 2005, Irish Pavilion, Scuola Di San Pasquale, Venice Biennale
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CARON GEARY Nominated by Xabier Arakistain
Caron Geary is a woman stepping into the ar tistic practice at the age of 36. Through her vibrant and powerful images she addresses the ideas of contemporary violence and life’ s other extreme experiences. “Written all over your face”. When violence in the shape of assault or rape manifests without explanation it enters into the realm of the hyper-real. The origins are often unknown to us, but the reality can be devastating. People pay to experience fear & trauma in safe environments. Sanitised violence has become our entertainment. When our control over a situation disappears or is lost & we’re presented with scenarios that we imagine happening or are fearful of, the result can become disturbing & perverse, reminding us of our own vulnerability or mor tality. “Catch me before I fall”. Within these theatrical ‘family’ studio portraits of close friends and relatives, day and night are reversed, interiors become confused with exteriors and awkwardness gives rise to humour . These images are not the result of capturing minor, every day moments, the banal or the domestic, nor do they attempt to reveal ‘true to life’ or ‘realistic’ aspects of a person’ s character. These collaborative performances act as metaphors for life’ s more extreme experiences and our responses to them; how we choose or are forced to deal with adverse situations that we are often powerless to change or control. Xabier Arakistain is Director of the Centro Cultural Montehermoso in Vitoria-Gasteiz.
It is a par ticularly British trait to ‘sweep things under the carpet’; pretending situations are fine when they are not. Children tend to act more honestly, until they are socialised into behaving otherwise. Part of this work is a response to that stiff upper lip tradition of carrying on regardless, sometimes to the point of defying all logic. The subjects that confront us are not acting, but reacting to staged situations in which they are placed. “Knock me down with a Feather” (2007/8) and “Static Inertia” (2007/8) heralds a return to another British tradition of producing ar t, based on a more emotional response to social issues inspired by the current cerebral frigidity of postmodernism and a healthy disregard for stifling political correctness. Caron Geary lives and works in London.
Education 2006 University of the Arts, London College of Communication, BA photography 2000 W.A.E.S, BTEC in photography, London Group exhibitions 2007 Switch on the power, Montehermoso, Vitoria, Spain 2007 Deep inspiration, Asthma UK inaugural art exhibition and Award, Jerwood Space, London (winner of the award) 2007 The Al-thani Award and exhibition, Dotal, Qatar 2006 Art below, Knightsbridge underground station, London 2006 What are you looking at?, Nick Knights online gallery 2006 Burlington quote, club online gallery 2006 Xhibit 06, Davies Street Gallery, London 2006 Newest Bestest Latest, Sassoon Gallery, London Publications 2007 Issue 8, Less common, more sense magazine 2007 Your gallery magazines, Rebecca Wilson’s critic’s choice: Top 10 2006 Cover of photography degree show catalogue 2006 Independent, The artists to watch 2006 Creative Week 2006 Time Out degree show gallery guide
CARON GEARY
Left: Kill, 2004; right: Bullet Boy, 2004, both from the series Written all over your face, available as Ctype 100 x 68cm and 16" x 20", and as digital 100 x 68cm
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Clockwise from top left: Paula 1; Dave Baby 1; Mariko 1; Marsh 1; Sienna; Mariko 2; Kitty; Eileen All from the series Catch me before I fall , 2006, available as C-type 100 x 80cm and 16" x 20", and as digital 100 x 80cm
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JEF GEYS
Nominated by Dirk Snauwaert Jef Geys is an ar tist whose work is way too little known to an international audience. Apar t from the per tinence of the ar t production, which spans over for ty years, going back to the late 50â&#x20AC;&#x2122;s debates on representation and vernacular culture as opposed to abstraction or spontaneous gestures, his work is accompanied by an archival and research practice which underlines and informs most, if not all of his projects. The materials and documentation of this archive have over the years become a work in themselves and they relate to the social-economical-intellectual and artistic developments of the
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last 40 years. This practice and work operate as a referent and model for the importance of research archives, documents and ephemera in order to get a clearer view of the way ideas and meaning are generated and disseminated. Dirk Snauwaert is Director of WIELS Contemporary Art Centre, Brussels
Jef Geys was born in 1934 in Leopoldsburg, Belgium. He lives and works in Balen, Belgium.
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Above: 326 Department of eagles (school journey), 1969. Photograph by Jef Geys; left: Archief, 19532001, exhibition installation photograph, Van Abbemuseum Eindhoven, 2005. Photograph by Peter Cox
Exhibitions 2007 Institut d’art contemporain, Villeurbanne, France 2007 !Women's Questions? Orchard, New York 2005 Pori Art Museum, Pori, Finland 2005 Van Abbemuseum, Eindhoven 2005 Information/Transformation, Extra City Centre for Contemporary Art, Antwerp, Belgium 2002 Documenta 11, Kassel 1992 Kunstverein, Düsseldorf 1991 Biennale Sao Paulo 1995 Take me I'm yours!, Serpentine Gallery, London 1995 Le Collège-Frac Champagne-Ardenne 1993 What Are We Having for Dinner Tonight? Witte de With, Rotterdam, Netherland 1992 Palais des Beaux-Arts, Brussels 1991 São Paulo Biennial
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Clockwise from left: 624 Women's Questions, Kunsthalle Lophem. Photograph by Roland Patteeuw; 146 Glue hearts, 1966. Photograph by Jef Geys; 194 Big tent sculpture, 1966-1967. Photograph by Jef Geys; 33 Seedsacks, 1962. Photograph by Jef Geys
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BEATRICE GIBSON Nominated by Elizabeth McAlpine
Gibson's practice is par ticularly concerned with the poetics and politics of space. It takes many forms to explore this territory: text, maps, photographic image but most recently sound. In the performance If the route: The great learning of London, the city is mapped out though “calling over” a mnemonic technique used by cabbies when learning “the Knowledge” (the system used by cab drivers to memorise the city's streets). Street names are called out one after the other , sometimes simultaneously, as a criss-crossing of the city builds in to a dramatic aural crescendo. The resulting aural landscape allows you to navigate the city through these experiential, emotional and physical landmarks. Experiencing the city
Education 2006 Goldsmiths University, London, Phd Candidate at the Research Architecture Centre, Department of Visual Cultures 2005-2006 Goldsmiths University, London, MA Research Architecture (Distinction) 1996–1999 Manchester University, BA Philosophy Group exhibitions 2007 If the route: the great learning of london [a taxi opera] Studio Voltaire, London 2007 If the route: the great learning of london [a taxi opera] 104.4 ResonanceFM, London 2006 Taxi_onomy, Subcontingency, Fondazione Sandretto Re Rebaudengo, curated by Francesco Bonami, Illaria Bonacossa and Francesco Manacorda 2006 Taxi_onomy, Public Structures at the the
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through l anguage i s a lso t he t hematic o f Mumbai C ity Dictionary, which appropriates inhabitants informal methods of way finding (landmarks, boundaries, time, fictions and networks) in order to construct a dictionary of the city which can be read in multi-linear way. These delineations of how we understand, map and inhabit urban space are some of Gibson's main concerns. Elizabeth McAlpine is an artist and one of the founders and organisers of PILOT. Beatrice Gibson was born in 1978 in London where she lives and works.
second GuangZhou Triennial curated by Hou Hanru, Hans Ulrich Obrist, and Guo Xiaoyan, Commisioned by Gavin Wade 2006 Taxi_onomy, “La Linea Sottile,” as part of PEAM, Pescara and Venice, Italy 2006 Taxi_onomy, Node.L, season for media arts 2005 Taxi_onomy, Commissioned piece for cybersalon @ the science museum as part of Future.Wireless. Funded by ACE, UK 2004 Human Capital, Soundtoys, Cybersonica, Dana Centre, London 2003 Human Capital, Transmediale, Play Global, Berlin 2003 Human Capital, Waterman’s Gallery, London 2003 Human Capital, Lancaster New Media Festival, UK 2003 Gai Security, New Museum for Contemporary
Art, New York Grants/Awards 2007-2008 Whitney Museum of American Art, ISP Studio Artist 2007 Arts Counil England , ‘if the route: the great learning of london [a taxi opera] 2005 British Council, Taxi_onomy 2004 Arts Council England, Taxi_onomy 2003 Daniel Langlois Foundation, Human Capital 2002 Rhizome New Media Commission for Gai Security Residencies 2005 V2 Lab Rotterdam, Taxi_onomy 10 week resdiency at V2 Lab Rotterdam 2005 FurtherStudio at Furtherfield, funded by Arts Council England
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‘if the route:’ the great learning of london [a taxi opera] , 2007, performance in collaboration with composer Jamie McCar thy, extract from score (left and bottom), and performance stills (above)
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Both pages: extract from Mumbai City Dictionary, taxi_onomy research project, collaboration with CĂŠline Condorelli
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Nominated by Bryan and Laura Davies
Village life and folk traditions, historical obsessions, eastern European migration, shoe shopping and manufacturing - Pope and Guthrie’s films and projects are in-depth explorations and unexpected angles on ever present issues of contemporary UK life. Their own charismatic performances are finely balanced to allow a platform for the unique people they encounter as they reveal stories such as that of the Czech Bata shoe factory,
its family history and workers (when in Venice check out the Bata superstore in San Marco square). Bryan and Laura Davies are artists based in Leeds.
Karen Guthrie and N ina Pope live in the Lake District and London respectively.
Right: Toge Shields of Export, 2007, installation shot, project as part of “Seven Samurai”, curated by Grizedale Arts for the EchigoTsumari Triennale, Japan; left: Bata-ville: We are not afraid of the future, 2005, film production still, film, digibeta, 93’. Photograph by Polly Braden
Education 1995 Edinburgh College of Art Solo exhibitions 2006-2007 Living with the Tudors, feature film funded by Channel 4 Documentary Film Foundation, release summer 2007 2005 Bata-ville: We are not afraid of the future, feature film, Commissions East, distributed by Somewhere. Selected for Edinburgh International Film Festival 2005 and SXSW, Texas, 2006, www.bata-ville.com 2005 It’s a Lake District Knockout, live performance,
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Coniston Water Festival, curated by Grizedale Arts 2003 (ongoing) Almanac, Cinema City, Norwich, launched September 2007 2003 It’s an East End Knockout, live performance, Bow Festival / Space, London Group exhibitions 2007 Return of the Seven Samurai, curated by Grizedale Arts for Lucie Mackintosh Gallery, Lausanne 2006 Virtually Grizedale, Liverpool Biennal, A Foundation, Liverpool 2006 Seven Samurai collaborative residency curated
by Grizedale Arts, Ikebukero Arts Festival, EchigoTsumari Triennale, Toyko 2004 Romantic Detachment, curated by Grizedale Arts, PS1, New York 2003 Live Culture, video programme, Tate Modern, London 2002-2003 Art For Networks, curated by Chapter, Cardiff, touring to Fruitmarket, Edinburgh 2002 TV Swansong, nationwide public art / sitespecific webcast project for 8 artists 2002 (ongoing) Game On, touring exhibition by Barbican Art Gallery, London
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Above: Bata-ville: We are not afraid of the future, 2005, film production still. Photograph by John Podpadec; left: It’s a Lake District Knock Out, 2005, live performance, commissioned by Coniston Water Festival. Photographs by Polly Braden; top right: Living with the Tudors, 2007, film production still, film, HDV, 84’. Photograph by John Podpadec; right: Living with the Tudors, 2007, production still
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LILLI HARTMANN Nominated by Alex Reynolds
Lilli Har tmann’s ab ility and courage to follow , perform, and sometimes fictionalise her personal desires o r downright lie in order to live them through is what fascinates me most about her work. If she wants to feel love d by those she admires, she writes up love letters from them to herself. And pre sents them as real. If she wants to create an awkward situation amongst people she knows, she hires an actor to give an u ncomfortable speech at a private view, and doesn’t tell anyone about it. If she wants to make a western film, she will make it with whatever means are available to her, even if this means shooting it in her kitchen with herself as the only actor. Running through Har tmann’s work is a desire to explore the possibilities of existence, and to expand its limits using the imagination; through symbolic acts; through objects, images and rituals. Alex Reynolds is an artist and independent curator based in Barcelona.
Education 2003 Royal College of Art, London 2001 Chelsea College of Art, London Solo exhibitions 2006 What Would I Do Without You?, Impromptu Gallery, Maridalsveien 90, Oslo 2005 Finderlohn, Immanuelkirchstr 10, Berlin 2004 Loving A Dog, Starstyling Shop, Rosenthaler Str.34, Berlin Group exhibitions 2007 Loop Festival, VideoAlboom’07, Galeria H20, C/Verdi 152, Barcelona 2007 Festival Espontani, Centre D’Art Santa Mònica,
LILLI HARTMANN
Drooling is for dogs and babies. Babies get pampered for it and dogs get pity or relief from a piece of sausage. I too have an uncontrollable salivation. Sometimes it’ s from seeing things: cakes, men, pretty girl’ s legs, ballet dancer’ s bottoms, sex, flowers, films… all cause a waterfall inside my mouth, unavoidably working its way out the corners. It also happens just imagining stuff. The tide rises and when parting my lips a garden sprinkler system starts to wet all near surroundings. I want them. Feel them. Eat them. Become them. And so it keeps on dribbling, onto my pillow at night, my front in the day and occasionally on to my desk. Lilli Hartmann was born in 1976 in Rosenheim, Germany . She lives and works in London.
La Rambla, Barcelona 2007 Satellite Works/Oeuvres Satellites, Galerie l'oeil de poisson, 580 Côte d'Abraham, Québec 2006 Home Is Where The Heart Is, Casa de Alex y Kikol, C/Sant Lluis 81, Barcelona 2006 Saloon, Third Drawer Down, 52 Robe Street, Australia 2006 Flaggfabrikken, Bergen Kunsthall, Landmark no.5, Bergen 2006 Making Love To My Ego, Pure Screen 14, Castlefield Gallery, Manchester 2006 Schnipp Scnnapp, Brix, Greifswalderstr. 223, Berlin
2006 Domestic Cocoon Situation, Murmansk Art Museum 2005 Filmstuben 2, Tiroler Alpenstadl, Prenzlauer Allee 175, Berlin 2005 Ladyfest, Vienna 2004 Filmstuben 1, Lenau Stuben, Hobrechtstr.62, Berlin 2004 Abajo corriente, Morcilla Gallery, c/Llibertat 47, Barcelona 2002 Portobello Filmfestival, Westborne Studios, 242 Acklam Rd, London 2002 The Curzon Show, Curzon Cinema, London 2002 Independent, Liverpool Biennial, Liverpool
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Above: Achmed, The Blue Wonder, 2005, film still, 10’; right: The Bun In The Oven, 2005, film still, 8’; left: Sing Little Bird, 2005, production shot, 9’ The three short films The Bun In The Oven, Sing Little Bird and Achmed, The Blue Wonder, were shot in one flat. Each of them has an original story line and follows a narrative pattern. They are inspired by different film-genres, which are referred to visually and through plot structure. Each one was allocated to a particular room (Western/ kitchen, Asian fightfilm/ bed- and bathroom, ‘Heimatfilm’/ living room). All characters are played by the artist.
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Above: Blind woman being fucked by an invisible dog believing it to be her husband , 2007, A4, pencil, series of five; left: From Woody Allen, 2003; right: Tattoo on my chest, 2005
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GEKA HEINKE Nominated by Susanne Neubauer
Heinkeâ&#x20AC;&#x2122;s paintings question the relationship between space, abstraction and gesture. Her approach generally stems from her examination of Germanyâ&#x20AC;&#x2122; s recent history , and her own emotional relationship with objects that symbolise a specific cultural and social background. Recent work includes paintings of household items such as lamps and wallpaper, as well as abstract patterns of architectural elements which she recasts through her methodology into meditative form. Susanne N eubauer is an art historian and curator at the Museum of Art Lucerne, Switzerland.
Geka Heinke was born in 1967 in Ludwigshafen on the Rhein, Germany. She lives and works in Berlin.
Left: Folded Paperlantern # 3, 2005, tempera and oil on panel, 200 x 160cm; right: PH Lamp Artichoke, 2005, tempera and acrylic on panel, 205 x 233cm
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Education 1998 Meisterschüler of Hans-Jürgen Diehl at the Hochschule der Künste, Berlin Solo exhibitions 2007 Dunkelheit, Galerie Stedefreund, Berlin 2005 Berlin-Detroit, PF Galleries, Detroit (with Hartmut Austen) 2005 Taumel, Galerie Françoise Heitsch, München 2004 Tarnung und Warnung I, Neue Kunst Gallery, Mannheim 2004 Tarnung und Warnung II, Gallery of the City of Mannheim 2003 Watercolours, Processroom, Irish Museum of Modern Art 2003 Dishcloth - An ornament, Goethe Institut, Dublin
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2002 XX, Capri, Berlin Group exhibitions 2007 Hotel van de Velde, Villa Dürckheim, Weimar 2006 Revisiting Home, Neue Gesellschaft für Bildende Kunst, Berlin 2006 Jackpot, Kunstverein Ludwigshafen 2006 Cluster, Espacio El Particular, Mexico City 2006 Cluster, Participant Inc., New York 2006 IRP Exhibition Winter 2006, Location One, New York 2005 Baruther Salon 2005, Kunst- und Kulturverein Alte Schule, Baruth 2005 2. Berliner Kunstsalon, Arena, Berlin 2004 Goldrausch 2004, Kunstraum Kreuzberg/ Künstlerhaus Bethanien, Berlin
2004 Settings # 2, loop - raum für aktuelle kunst, Berlin 2002 Intim, 2yk Gallery, Berlin 2002 Saar-Ferngas-Förderpreis Junge Kunst 2002, Wilhelm-Hack-Museum, Ludwigshafen Scholarships and prizes 2005 Location One, New York, scholarship from Schloss Balmoral, Stiftung Rheinland-Pfalz für Kultur 2004 Goldrausch 2004, scholarship postgraduate artists program, Berlin 2003 Comission for a mural in the GASAG company building, Berlin 2002 Artist's Work Programme at the Irish Museum of Modern Art, Dublin 1995 Erasmus scholarship for studies at the Facultad de Bellas Artes, Salamanca
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Left: Composition with 14 lines (Parquet Villa D端rckheim), 2007, acrylic on canvas, 125 x 216cm, installation view Salon Villa D端rckheim, Weimar; right: studio view, 2007; below: Ornament (Parquet Villa D端rckheim), 2007, installation view Salon Villa D端rckheim, Weimar, tempera on panel, 245 x 135cm
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CHRISTOPHER HO Nominated by Regine Basha
I nominate Christopher Ho for the following reasons: His approach to minimalist concerns - in regards to the white cube, the theatricality of the object / viewer , the deterministic quality of a finished object – is the basis for an ongoing series of site-specific and context-specific projects. By investigating context and often through collaborative work, Ho engages in a problem-solving mode that illuminates the physical, institutional and social dimensions of its surroundings. Often these concerns are condensed within a discreet sculptural object, or a functional sculptural element installed in relation to public or civic space. I see Ho’ s work in conversation with the work of artists such as Liam Gillick, Jonathan Monk and Ryan Gander for instance, where a confluence of conceptual rigor, design, functionality, and language converge with subjective interests in everyday phenomena. Regine Basha is a curator and independent producer based in Austin and working in Austin and New Y ork City The guideposts for my practice are two: context and collaboration. Both are informed by the position that ar t making is less a form of self-expression than a process of problem-solving, whereby a problem is generated by a given site (whether this be physical, institutional, or discursive) and its solution arrived at collaboratively with an interlocutor . As a creative process, collaboration acknowledges the interdisciplinary tendency of much contemporary ar t. Approached as a formal principle, collaboration acquires the sheen of what used to be termed the medium, with attendant connotations of specificity and (semi-)autonomy . It is this latter notion of collaboration-as-medium that my current work pursues. Christopher Ho was born in 1974 in Hong Kong. He lives and works in New York.
Top right: In twighlight, general outlines of ground objects may be distinguishable, but the horizon is indistinct, 2004, collaboration with Stephan ApicellaHitchcock, waxed marine fir plywood, CD player, 2 speakers, 32 secs looped soundtrack, 32’ x 4’9” x 5’6”; right: &L, collaboration with Troy Richards, artist book, edition of 30
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Education 2001 Columbia University, MA, M.Phil, Graduate School of Arts and Sciences - Faculty Fellow 1997 Cornell University, BFA, BS Hons, College of Architecture, Art, and Planning Solo exhibitions 2008 Winkleman Gallery, New York Group exhibitions 2008 Yard Art, Jackson Hole Art Center, Jackson, USA 2007 Maine Arts Festival, Blue Hill, USA 2007 JamaicaFlux, The Jamaica Center for Arts & Learning, New York 2007 Latitude, Fieldgate Gallery, London 2006 8 x 8 x 8: NYC / MSP / LON, The Soap Factory , Minneapolis, USA 2006 Artl!es: Sincerity Issue, Austin, Texas 2005 Sculpture 2005, Franconia Sculpture Park, Minneapolis, USA 2005 New York Eviction Blues, Asian American Arts
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Centre, New York 2004 Lounge!, Art House, Austin, Texas 2004 Open Studios, Lower Manhattan Cultural Council, New York 2004 Sunrise Sunset, Smack Mellon, New York 2004 Freehand, Marvelli Lab, New York 2004 Valdez: Revolution Issue, Bogota, Colombia 2003 i live by the sea, Nuart Scandinavian Art Festival, Stavanger, Norway 2003 Microviews II, Lower Manhattan Cultural Council, New York 2003 Float, Socrates Sculpture Park, New York 2003 The 4 Elements, Forest Hills Park, Boston, USA 2002 Microviews, Lower Manhattan Cultural Council at the Municipal Art Society, New York 2002 zingmagazine curated projects, New York 2002 Hash Brown Potatoes, Smack Mellon, New York 2001 FAST FWD: MIAMI, Miami, Florida
2001 Fictive Net Porn, fictive.net, New York 2001 Pedigree Pal: Neudefinition van Familie, Stedhalle, Zurich, Switzerland 2001 Faculty Biennial, Museum of Art, Rhode Island School of Design, Providence, USA 2001 SUK: Sesto Senso, Bologna, Italy 2001 Crossing the Line, Queens Museum of Art, New York 2000 12 Artists, H. F. Johnson Museum of Art, Ithaca, USA 2000 Opening, Galerie 5ème Etage, Paris, France 2000 White Hot, Smack Mellon, New York 2000 U.S.A.: Sidelong Glance, im n iL Gallery, New York Residencies 2005 Franconia Sculpture Park, Jerome Foundation Artist-in-Residence 2004 Lower Manhattan Cultural Council, Workspace: 120 Broadway Residency Program
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Above: Everything for Everyone at Once, 2005, collaboration with Daniel Bouthot, poured-in-place rubberized surface, unpunched aluminum plank, asphalt, 16’ x 44’ at grade; right: Classified 1, 2007present, silkscreen on paper, 16” x 20”, edition of 10; left: Luncheon on the Grass, 2003, collaboration with Daniel Bouthot, three types of grass (sod and seed), 30’ x 30’, approximately 3-month duration; far left: Help, 2006, copper pipe, ceiling brackets, 32” x 34”, ceiling mounted, edition of 3
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SASKIA HOLMKVIST Nominated by Nav Haq
Saskia Holmkvist’ s shor t videos document and unravel the means of construction of social, cultural and political understanding, often with regards to the way ar t institutions can also be implicated in this cycle. In Interview with Saskia Holmkvist (2005) this process is most visible, in which she has hired a media relations expert to train her to deliver a short statement about her work with apparent sincerity and authority. The short statement describes her practice with direct reference to this process, with the result that the film appears as a neat, self-deconstructing document. “It’s about how one comprehends something as being honest and true”, states Holmkvist in the video. Over the eight minute piece, Holmkvist is instructed in body language, posture, voice timbre, eye contact, in a process more associated with political careerism than artistic development. The interruptions, visible microphones, and self-conscious pauses make it clear that even the most stereotypically ‘authentic’ figure - the ar tist - is capable of, and is possibly always engaged in - a performance. However, the revelation of the performance is itself carefully constructed. Shot in the Moderna Museet in Stockholm, from several angles using hand-held and fixed cameras, the video’ s visual language of authenticity is itself a construction, a language created by media such as reality television or even documentaries. So, our supposed access to reality never quite
resolves itself. The subject of ar t and ar t institutions is particularly vulnerable to Holmkvist’ s approach, which is still highly protective of the notion that the art organisation retains some form of ideological and ar tistic independence untainted by the necessity of marketing and public relations. Text by Mia Jankowicz Nav Haq is a curator based in London. Social order can be understood in many ways as well as constructed in many ways. In my practice as an ar tist I have a special interest in questions dealing with authenticity, manipulation and credibility . I develop my work through research of different techniques and rhetoric in such media as information technology, journalism and the documentary form, which constitute representation of a different kind in society. For example I have looked at the understanding of messages through factors such as the tone of a person’ s voice in combination with what is actually said or done. I have collaborated with people working with documentary , PR or in art institutions, and establish a framework were a meeting with these people leads to an exchange of knowledge or a conflict of interest that is later represented in my films. Saskia Holmkvist was born in 1971, she lives and works in Stockholm.
Facing page: Interview with Saskia Holmkvist, 2005, video still, 8’40”; below: System, 2001, video still, 5’; below right: Presenting Nav Haq, 2006, video still, 11’
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Education 2000-2004 University Collage of Arts, Crafts&Design (Konstfack), Stockholm, Sweden 1999-2000 Gerrit Rietveld Academy, Amsterdam, The Netherlands 1992-1995 BA Art History, History of Ideas, Anthropology, University of Stockholm, Sweden Solo exhibitions 2005 IASPIS, Stockholm, Sweden Group exhibitions 2007 Shedhalle, Zurich 2007 Decoder, Contour Biennial, Mechelen, Belgium 2007 Äkta Vara, Röda Steen, Göteborg, Sweden 2006 I/Ich Performative Ontology, Secession, Vienna 2006 Jump Into Cold Water, Shedhalle, Zurich 2006 Represent, David Blandy/Saskia Holmkvist, Gasworks, London 2006 The moderna exhibition, Moderna Museet, Stockholm 2006 Deep Search, Göteborgs Konsthall, Göteborg, Sweden 2005 Narrow focus, Tranzit workshop, Bratislava, Slovakia Republic 2005 Seven Little Samurais+1, Apontan, Tokyo 2005 Narrow focus, Tranzit workshop, Bratislava,
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Slovakia Republic 2005 Vid regnbågens slut, Tumba Bruksmuseum, Tumba, Sweden 2005 Mörklagd 1+2, Signal, Malmö, Sweden 2004 Balancing Acts, Centre Culturel Suédois, Paris 2003 Arghh, Edsvik Konst och Kultur, Stockholm 2002 Greyscale/CMYK, Tramway, Glasgow 2002 www.ionic.nifca.org, webgallery, Nifca 2002 Vårsalongen, Liljevalchs Konsthall, Stockholm Screenings and film festivals 2007 Images Festival, Kingdome come-Emergent Swedish and Finnish Art, Toronto, Canada 2007 Go, Think, Prepare, CAC TV, Vilnius, Lithuania 2007 VIEW 2007, Culture Factory Korjaamo, Avarkki, Finland 2007 NOASS/Cinema K-suns, Riga, Lettland 2006 Tank-tv, www.tank.tv/, November/December 2006 Videokonstbiennalen06, Gävle, Sweden 2006 Vera filmfestival, Åland, Finland 2005 Tempo documentary filmfestival, Zita, Stockholm 2005 Analog Fictions, Swedish Research Institute, Istanbul 2005 Real Fiction, Cinema Svetozor, Tranzit, Prague, Czech Republic
2004 Blick, Moderna Museet, Stockholm, Sweden 2004 National shortfilm, Uppsala International Shortfilmfestival, Uppsala, Sweden 2004 The fourth Thanet Contemporary Arts Festival, Margate Rocks, UK 2004 Festival@prenelle, Island Film and Video, London 2004 Commotion, Picture this moving imageArnolfini, Bristol, UK 2003 Nordic Panorama, Documentary Film Festival, Malmö, Sweden 2001 Blick, The Modern Museum/Nifca, Sweden Awards and grants 2006-2008 Konstnärsnämden, working grant 2006 Sleipnir 2006 Nifca, residency, Vilnius 2006 Gasworks, residency, London 2004/2005 IASPIS, residency, Stockholm 2003 Swedish Film Institute, Documentary film award 2003 Scholarship from University College of Arts and Crafts, Konstfack Represented in the Moderna Museet collection with the video works System and Interview with Saskia Holmkvist
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Above left: Interview with Saskia Holmkvist, 2005, video still, 8’40”; left: Media Friends & General Audit, 2006, video stills, 9’; above: Interview with Carl Fredrik Sammeli – MD Prime PR , 2006, video still, 25’; right: Maria Lind, Director of Iaspis, 2005, video still, 10’
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LISA HOLZER Nominated by Melanie Ohnemus
In her artistic practice, Lisa Holzer combines the field of visual art with that of writing. For Holzer, her photographs, collages, and graphics as well as her texts and performances repeatedly present a fundamental questioning of their relative status and an expression of a conflict of desires rather than a mixing or dissolving of these genres. Holzer works with various forms of abstraction, with the simple principle of reversal and promise. Through the consciously minimal use of material, her pictures always make apparent that which makes them pictures, or they inquire whether they are already pictures. In a similar
way, her texts condense along everyday observation into a vehicle that transpor ts the contents through an initially very personal writing. She works with a language that discusses and analyses itself, and very much in literary tradition, encircles language’s own system. Melanie Ohnemus is an art historian, art critic and curator , and works at Secession Vienna.
Lisa Holzer was born in 1971. She lives and works in Vienna.
Above: Tröstend ist nicht die Brezel, es ist die Idee der Brezel: Die Brezellogik 1974/2007 / Consoling is not the Pretzel, it is the idea of the Pretzel: The Pretzel Logic 1974/2007 , 2007, pigment prints on deckle edged paper, 40 x 53cm
2007 Established Westphalie, Publishing House for artists’ books together with David Jourdan, www.westphalie.com Solo exhibitions 2007 Die Hose paßt wirklich ausgezeichnet, Gallery Habres + Partner, Vienna 2006 Die Hose paßt ausgezeichnet, Ausstellungskabinett, Salzburger Kunstverein, Salzburg 2004 Don’t fall in love with me yet. I might be giant, <auto>, der neue Kunstraum, Vienna 2002 Einige freie Flächen, Gallery 5020, Salzburg Group exhibitions 2007 Tension; Sex; Despair – Aber Hallo/Na Und, Kunsthalle Exnergasse, Vienna 2006 Frisch zum Kampfe! Frisch zum Streite!, Verborgene Geschichte/n remapping Mozart, Wiener Mozartjahr 2006, Vienna 2005 Koschatzky Art Price, MUMOK Hofstallungen, Vienna
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2005 Gosh! where are you now?, <auto>, der neue Kunstraum, Vienna 2005 BlickA, BlickB, Salzburger Kunstverein, Salzburg 2004 Positionen, Month of Photography, Vienna 2004 Constructa, Gallery 5020, Salzburg 2004 Born to be a star, with ’a room of one’s own’, Künstlerhaus, Vienna 2004 Vorfreude, Poster for the public space, Kunstbüro, Vienna 2004 bb3, with ’a room of one’s own’, Berlin 2004 Der Widerstand der Fotografie, Camera Austria, Kunsthaus Graz, Graz 2003 Mothers of invention - Where is performance coming from?, with ’a room of one’s own’, MUMOK Factory, Vienna 2003 Drei, Area 53, Vienna 2003 Abstraction Now, Künstlerhaus, Vienna 2003 Danke für die Illusionen, Grat/Beckmanngasse 52, Vienna
2003 Art.position 2003, Ottakringer Brauerei, Vienna 2002 Site-Seeing, Die Disneyfizierung der Städte?, Künstlerhaus, Vienna 2002 Das Experiment 2b, with A room of one’s own, Secession, Vienna 2002 Private Space, Galerie Hubert Winter, Vienna 2002 And Other Bargain Goods, Musée des BeauxArts, Calais, France 2002-2005 Part of the artists group A room of one’s own Grants & awards 2007-2008 Artist in Residence, London 2006-2007 Ein Platz für den Nachmittag, "Brunnen/Platzgestaltung Geras", art in public space, permanent installation, Lower Austria 2005 Koschatzky Art Prize, Vienna 2005 Prize of the Salzburger Kunstverein and Salzburg 2005 Artist in Residence, Cité Internationale des Arts, Paris
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o.T. / Untitled, 2006, pigment print on deckle edged paper, 47 x 63cm
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Above: Besuche / Visits, 2005, pigment prints on deckle edged paper , 47 x 63cm; left: Nachmittagsformen I, Offene Haare / Afternoon forms I, Open Hair, 2006, pigment print on deckle edged paper, 40 x 53cm
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DAVID HOMINAL Nominated by Circuit
David Hominal was shot by life. Circuit is an independent artists-run space in Lausanne, Switzerland.
Education 2000 Diplôme d’Arts Visuels, ECAL (Ecole cantonal d’art de Lausanne) 1995-1997 ECAV (Ecole cantonale d’Art du Valais) Solo exhibitions 2007 You’ll Never Walk Alone, Espace Arlaud, Lausanne 2004 War Requiem, Espace d’art contemporain Circuit, Lausanne Group exhibitions 2007 Another Group Show, Objectif-exhibition, Antwerpen, Belgium 2006 Participation à l’Exposition de Alain Huck, Excuse Me, Musée Jenish, Vevey 2006 Accrochage [Vaud 2006], Musée Des BeauxArts, Lausanne 2003 Estampes, Galerie, K04, Aigle 2002 Carmen, Toit du Monde, Vevey 2001 Argos project, Vevey
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David Hominal was born in 1976 in France. He lives and works in Lausanne.
1998 Gorgeous, galerie ELAC Lausanne, Slam & texts 2005 Texte pour la vidéo Spaceship, réalisée par MCHOMINAL 2004 All Over, music by Emef, ancienne école de chimie, KABAC, Lausanne 2004 Paroles, music by Emef, Théâtre du MoulinNeuf, Aigle 2003 Inachevé, Cave du Manoir, Martigny 2003 Fantôme, Music by Rez-Edit, sauna, Vevey 2002 Sans titre, music & scratch by DJE, les Temps Modernes, Vevey Awards 2006 Accrochage 2006, Musée Cantonal des Beaux-Arts Lausanne pour l’installation: You’ll Never Walk Alone Other 2003 Création du collectif: SUB K28
Above, left to right: XeroX, 2006, acrylic on cardboard, can, 54 x 59 x 75cm; Sans Titre, 2005, graphite pen on paper, 58 x 40cm, private collection; facing page: YOU’LL NEVER WALK ALONE, 2005, watercolour, tape and marker on paper, 41 x 53cm, private collection. All photographs by Siméon Duchoud
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Left: VelasquezGoyaHominal, 2006, acrylic on canvas, 200 x 150cm. Photograph by Siméon Duchoud; above: Flowers, 2006, acrylic on paper, 190 x 148cm. Photograph by Siméon Duchoud; right: Exhibition view of You’ll Never Walk Alone, 2007, Espace Arlaud, Lausanne. Photograph by Jean-Claude Ducret
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WILLIAM HORNER Nominated by John Stezaker
William’s practice is absorbing and beguiling. I have known and appreciated it for a while now , and yet because it addresses a diversity of registers and modalities, it resists any simple description. While William sees himself as an object maker, his work opens itself to a range of approaches and dimensions. While he might use wax, hair or even images appropriated from eBay, his work sets up intriguing narratives between contingent material and its appearance as image. From a theo retical point o f view , W illiam’s re cent work addresses the moment at which sculpture negotiates ground
Above: The Open Plain (detail), 2005; right: Throne, 2005
WILLIAM HORNER
as both object and image. It draws out an ontological and epistemological event that traverses both the aesthetic and the political. In this respect, W illiam’s objects offer both a site of resistance and a site of the imagination. His practice is persuasive, playful and demanding. John Stezaker is an artist based in London.
All sins are attempts to fill voids. – and Grace William Horner was born in 1971.
Simone W eil, Gravity
Education 2005 PhD Sculpture, Royal College of Art, London 2001 MA Sculpture, Royal College of Art, London 1998 BA Sculpture, Chelsea College of Art and Design, London 1993 BA Philosophy and Social Anthropology, University of Kent at Canterbury Exhibitions 2007 Strangelove, Stone City Films HQ, London 2005 William Horner & Jan Mancuska, Hollybush Gardens Gallery, London 2005 Laurence Figgis & William Horner, MaryMary Gallery, Glasgow 2004 Re-hear-sal, Café Gallery Projects, London 2003 Vice, Henry Peacock Gallery, London 2002 Salon Light, The Shoeshop, London 1999 The Portrait of Dorian Gray, The Silo, Amsterdam 1998 Visual Statement, Performance at Speakers Corner, Hyde Park, London 1998 Odintune Sculpture Trail, Odintune Place, Nr. Plumpton, West Sussex 1997 Landscape, The Moravian Cemetery, Chelsea, London 1996 Minus Four, The Fridge Gallery, Brixton, London 1996 Small Change, Performance at Portobello Market, London 1995 The Stuck Group, Performance at Chelsea College of Art Teaching 2006-2007 Visiting Lecturer, Critical and Historical Studies, Royal College of Art, London 2005-2006 Associate Lecturer, Sculpture, Camberwell College of Art, University of the Arts, London 2002-2005 Visiting Lecturer, Sculpture, Royal College of Art, London Scholarships and awards 2003-2005 AHRB award for full-time PhD 2000-2002 Royal College of Art ‘Fine Art Scholarship Award’, created by the 'Absolut Secret' Exhibition Fund
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Top left: Untitled World (detail), 2005; left: Particular, 2004, (film still from DVD for Flatscreen); right: Overtime, 2005
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HUBER HUBER Nominated by Gianni Jetzer
I like what the Hubers do a lot. They’ve built an amazing amount of birdhouses made out of crap found on the streets here in the East Village and hung them back on poles and facades. Actually it is the same type of improvised structure that bums use to build for a night, before the sanitation depar tment or the cops clean it away in the morning. Huber’ s birdhouses are a system of abstract signs (no birds so far) and an open comment on gentrification and hope. Most of the neighbours love the fictional potential of the story . I think they are still waiting for the birds to come and sing nice tunes in the morning hours. The twin brothers also make collages of fights between Geishas and monster ants, paint meteorites on old photographs, make drawings of hunting women found on the Internet or bleach American flags in a week-long process until they are white. www.hiddentrack.cc Gianni Jetzer is Director of the Swiss Institute in New York.
Markus and Reto Huber are twin brothers and were born in 1975 in Switzerland.
This page: Bird houses, 2006, found waste, 30 x 15 x 15cm, www.hiddentrack.cc; facing page: White flag / US flag bleached , 2006-2007, cotton, 4’ x 6’ (122 x 183cm)
Education 2002-2005 Academy of Fine Arts, Zurich Solo exhibitions 2007 Gallery C.G. Boerner, New York 2006 Gallery bis heute, Bern 2006 Gallery Bob Gysin, Zurich 2005 Gallery art-magazin, Zurich 2005 White Space | Raum für aktuelle Kunst, Zurich Group exhibitions 2006 Homo Bellicus, artspace londonparisnewyork, New York 2006 La Luna. La Diva, Likeyou.projects, Zurich 2006 Berliner Kunstsalon 06, Berlin 2006 The White Space im Bahnwärterhaus, Esslingen, Germany 2006 Greatest Hits, Kunstraum Alte Feuerwache, Mannheim, Germany, curated by Lothar Kraus 2005 Scabs, Guns and Peanut Butter, Gallery
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art one, Zurich 2005 Swiss Art Awards, Basel 2005 Kiefer Hablitzel Preis, Basel 2005 Werk und Atelierstipendium der Stadt Zurich 2004 Das Licht der Hinterhöfe, Gallery art one, Zurich Projects 2007 Fugitive Projects, The 60 second southern video festival@harmony landing, Nashville 2006-2007 Hiddentrack, Swiss institute, New York Grants & prizes 2006 Grant (EvE-Kulturpreis) by Julius Baer, Zurich 2005 Grant by the City of Zurich: Residency in New York City 2006/07 Collections Julius Baer Group art collection Canton of Zurich Bank Vontobel
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Above: Group: Mikrouniversum und andere kleine Systeme , 2006, collage, 25 x 20cm; right: Group: Mikrouniversum und andere kleine Systeme , 2006, collage, ink, 30 x 20cm
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PATRICK KILLORAN Nominated by Sofía Hernández Chong Cuy
The ar tworks and projects of N ew Y ork-based ar tist Patrick Killoran are, on occasions, exhibitions themselves that have no venue. His work is encountered unexpectedly or is handed out to one by others. On other instances, when his work is sculptural, these are invitations to ponder publicly on intimacy and to expose oneself to the world. This occurs through material contradictions and absurd visual tensions in the work, as well as to its awkward placements and positions in the space, whether it is an indoor or outdoor area. For his project Lost and Found (Tierra del Mar), 2003-2005, originally commissioned by IKON in the UK, Patrick created hundreds of identical le ather wallets, each co ntaining an identification card, bank notes, and other contents typical of a wallet. In Birmingham, and later in New York City, the artist and his so-called accomplices have lost these wallets in the dozens for the public to encounter , inspect, and to keep, return… somewhere, or leave behind for others to do the same. Around the same time, he begins an ongoing series titled Hand to Hand, where he hands-out a sealed manila envelope that he has carefully designed and crafted. On one side, this envelope has the name of the person to whom the envelope is for, and the city and country where either she or he is located, but no
address information other than. An instruction telling, “ATTEN TION –Dear Sir or Madam, I am trying to reach my destination without the use of the Post. I beseech you to pass me on to the next closest person who might facilitate my passage. Before releasing me to the next courier, please be sure to sign below.” A chart for names and locations follows, and the chain of people would progressively fill this out until it arrives to its destination. Inside the envelope is a flat work, a series of images perhaps or maybe texts, but the contents are ultimately unknown to its couriers. Soon after, Patrick makes a book cover, and, like Rebound, also in manila paper with instructions. This time, the instructions consist of either reading or passing the book along, or both, to a cover that would be signed before it slips to another hand, and bind that announced to not ever keep on a bookshelf. A book, a work, that has no final destination. Sofía H ernández C hong C uy i s c urator a nd p rograms manager at Art in General, New York.
Patrick Killoran was born in 1972 in N ewtown Square, Pennsylvania. He lives and works in New Y ork City.
Left: Rebound. Initiated by the artist in 2004, this project consists of a continuous exchange of books from the artist’s library. Once read, each book is rebound with a new cover that includes a message in the front and roster for names in the back. The message is addressed to whomever it may concern, and reads, “I am a book intended to be passed on and shared. If you choose to read me, please sign-in on my back cover. When you are finished reading, give me to another person. Do not keep me in storage or put me on the shelf, deliver me to the next reader. If you find me in storage, or with someone who is not reading me, you are authorised to take me as your own and read me.” Right: Lost & Found (Tierra del Mar), 2003. An action where the artist and his accomplices lose hundreds of identical wallets –each of them contains information from an imaginary place and a fictional owner. Commissioned by IKON, Lost & Found consisted of 250 wallets to be lost in Birmingham, UK in 2003. Two years later, as part of a program by Hudson Clearing, 150 wallets were lost in Times Square, New York City.
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Left: Hand to Hand (Allison Peters), 2004, front view. Begun in 2000, this is an ongoing project that consists of delivering a set of two identical letters. Each pair is created and packaged by the artist; and it is delivered without the use of an official postal system. Instead, they circulate by making use of a trustbased system and social relations. There are two other additional parameters for this project. The first is that however identical the contents of these packages are; each letter travels a separate path to arrive at the same destination. The second is that the addressee’s name is included; but aside from a city or a workplace, little to no other information is provided.
Education 1998 Skowhegan School of Painting and Sculpture, Skowhegan, Maine, USA 1995 BFA Sculpture, Tyler School of Art, Elkins Park, USA Solo exhibitions 2005 Lost & Found (Tierra del Mar), Hudson Clearing, New York 2003 Slightly Touched, Mills College Art Museum, Oakland, USA 2003 Lost & Found, Ikon Gallery, Birmingham, UK 2002 Glass Outhouse, SculptureCenter, Long Island City, USA 2001 Art Rental, Oberlin College, Oberlin, USA 2001 Self-Promotion, Foundation Center for Contemporary Art, Prague. Co-organised by Art in General, New York 2000 Autobody, Wadsworth Atheneum, Hartford, USA 2000 Observation Deck, Ikon Gallery, Birmingham, UK 1997 Observation Deck (Queens), P.S.1 Center for
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Above: Hand to Hand (Allison Peters) , 2004, back view. The package is designed and functions like an inter-office mail envelope. The back includes a roster where the name and location of every participant can be added: this list becomes a trade route that begins with the person whom the artist initially entrusted and every person who relayed the letter en route to the addressee.
Contemporary Art, Long Island City, USA Group exhibitions 2007 All About Laughter, Mori Art Museum, Tokyo 2006 The Performance Art Fair, Roebling Hall, Brooklyn, New York 2005 Pattern Language, Tufts University Art Gallery, Medford, Krannert Art Museum, Champaign, USA 2005 Interaction, Hyde Park Art Center, Chicago 2005 OPEN, ev+a 2005, Limerick, Ireland 2004 We Could Have Invited Everyone, University of Sunderland, UK 2004 the sneeze 80 x 80, Gazon Rouge, Athens 2004 Butik, livingroom D lyx, Malmö, Sweden 2003 The Outlaw Series 2003, Outlaw Series, New York 2003 The Paper Sculpture Show, SculptureCenter, Long Island City, USA 2003 24/7, Contemporary Art Centre, Vilnius, Lithuania 2002 Surrounding Interiors, Davis Museum,
Wellesley, USA 2002 The Lo-Fi Show, Catalyst Arts, Belfast, Northern Ireland 2001 Looking for Mr Fluxus, Art in General, New York 2001 Downtown Arts Festival, Downtown Arts Projects, New York 2001 Song Poems, Cohan Leslie Browne, New York 2000 Autobody (Wanås 2000), Wanås Foundation, Sweden 1999 Turn of the Century New York 98, Nantes Festival, Nantes, France 1999 Slippery, Blohard/Voxpopuli, Philadelphia 1998 Summer Camping, 1612 Pine Street, Philadelphia 1998 everyday, Biennale of Sydney, Sydney Australia 1997 projects.doc, Aronoff Center, Cincinnati 1997 World Views, Deutsche Bank, New York 1997 Ten Days in October, Sculpture Center, New York 1996 Disassociatism, Four Walls, Brooklyn, New York
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KIRA KIM Nominated by Jinsang Yoo
Kira Kim’s work is based on certain reality inside Korean society; his experience of strong hierarchical and exclusive system due to its tradition and social stereotype. And his sojourn in Europe enlarged the scale and nature of this aspect. Kira Kim never loses his humour and pace within his works even when met with those difficulties and needs to express them. Jinsang Yoo is an art critic based in Seoul. I usually use photography, video, LED, painting and other new media in my socially focused but humourous work. Ranging from organised gang members and exercising housewives to multi-national fast food joints and oriental China, my subject matter show the diverse yet somewhat standardised characteristics of modern life. I often represent my own understanding of human conditions in capitalist societies and the globalisation of such an environment. While raising serious social and political questions, the base of my art remains to be humourous and engaging, rather than just critical. Kira Kim was born in 1974 in Korea. He Lives and works in London and Seoul.
Education 2006 Goldsmiths College, MFA Fine Art, London 2001 Gye-Won Art College in the Working on the special project (Philosophy and Media Course) 2000-2002 Kyoung-Won University in MFA, Environmental Sculpture, Kyung-gi Province, Korea 2000 Kyoung-Won University in BA Fine Art, Kyung-gi Province, Korea Solo exhibitions 2007 A palace of mirages, Kings Lynn Arts Centre, UK 2006 Gagami V – Je t’aime, Moi non plus, Paris 2003 I LOVE YOU, Art space FACTORY, Seoul 2003 Minority or Cosmopolitan, +Gallery, Nagoya, Japan
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2002 0.000km, LOOP gallery, Seoul 2002 Standard, BODA gallery, Seoul Group exhibitions 2007 4th International Ceramic Biennale, I-cheon, Korea 2007 Armory Show, New York 2007 ARCO International Art Fair, Madrid 2007 A Matter of urbanity, among other things, Canal de Isabel ll, Madrid 2006 ALLLOOKSAME? KOR_CHINA_JAPAN, Fondazione Sandretto Re Rebaudango, Turin, Italy 2006 Circuit Diagram, Cell gallery, London 2006 3rd Busan Biennale, Living funiture, SK pavilion, Busan, Korea
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2006 Exposed: Black & Crystal Ball, Harrods Department Store, Dedating Chamber, London 2006 On Difference#2, Wurttenbergischer Kunstverein Stuttgart, Stuttgart, Germany 2005 OK. Video SUB/VERSION Jakarta Video Festival Galeri Nasional Indonesia 2005 Banana Surfer, 798 Beijing Ieum Gallery, China Post IMF, ART-ARK Gallery Sanghai, China 2004 Digital Homo Ludens, the 4th Seoul International Media Art Biennale (media_city seoul 2004), Seoul Museum of Art, Korea 2004 Video IT, Torino, Espace, Viamantova, Italy 2004 Move on Asia, SBS 1st floor Atrium, Korea, Remo-Osaka, Japan, +Gallery-Nagoya, Japan 2004 OUT THE WINDOW (Korea-Japan-China)
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2004 1. Japan Foundation Asia Center, Tokyo. 2. ProJect Space Zip, Seoul, Korea 2003 ‘Plug-in’ Instituition, Basel, Switzerland 2003 Where is my friend’s home?, Single channel videos by 11 Korean artists 2003 9.27-10.19/Critical Studies Test Site, Rooseum Center for Contemporary Art, Sweden 2003 Dumbo Art Festival (D.A.C, New York) Awards 2007 King’s Lynn solo show supported by Arts Council England 2007 International Cultural project Korean Culture and Arts Foundation (KCAF) 2003 A rising artist project, Korean Culture and Arts Foundation (KCAF)
Above: I love U, 2006, LED bulbs, sound system, chairs and traditional table installation; far left: Give a fair, 2005, single channel video; left: A fatty: When the dog protected the master, 2006, Diasec on Lightjet
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Top left: Dear Sir… I said NO!! nº1, 2006-7, Diasec on Lightjet print; above: Dear Sir… I said NO!! nº2, 2006-7, Diasec on Lightjet print; left: Coca Killer, during installation, 2006, LED light system; right: A Security garden as paranoia 2006, installation
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SILKE KOCH Nominated by Jeannette Stoschek
Silke Koch’s site-specific ar t works have a special merit in the variety of their formulation of questions concerning ar t history, local history , sociology , and cultural studies. Her intermedia works and interdisciplinary way of working irritate and are intended to scrutinise our traditional conception and perception of reality in an always amazing and fascinating way. It is astonishing how the ar tist manages to sensitise the viewer to processes that are unexpected to his or her ‘reality’. Jeannette Stoschek is curator at the Museum der bildenden Künste in Leipzig.
My ar tistic exploration concentrates primarily on the phenomenon of the construction of reality (symbols, signs, rules, structure). Initially, I enlarged the spectrum of my work with a utopian component. N ext to historical areas, I am mainly concerned with questions of human desire or myths as they manifest themselves in private and public spheres. Silke Koch was born in 1964 in Leipzig, where she lives and works.
Above: New Leipzig, 2005-2006, C-print photographs (from a series of 12), 80 x 60cm; right: Mapflag, 2005-2006, drawing on photocopy paper, 75 x 115cm
Education 2003 Meisterschülerin von Prof. Astrid Klein, Hochschule für Grafik und Buchkunst Leipzig, Germany 1993-1998 Studium der Fotografie, Hochschule für Grafik und Buchkunst Leipzig [Diplom ‘exellence’] Solo exhibitions 2006 Rock My Tradition, Het Wilde Weten, Rotterdam, Netherlands 2005 The winner is #1, Kunstverein Leipzig, Germany 2003 Games, Goethe-Institut, New York 2002 Lina's Garden, Galleri Solvberget, Stavanger, Norway 2000 Mitgift, AnBau 35. Ort für Zeitgenössische Kunst, Bonn, Germany 1999 Höhen, Dresdner Bank Leipzig, Germany
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1998 Höhen, Kunstverein Leipzig, Germany Group exhibitions 2007 Ortswechsel, atelierfrankfurt, Frankfurt am Main, Germany 2007 Wrong Time, Wrong Place, Tent, Rotterdam, Netherlands 2006 51,3º x 13,1º, Oschatz, Germany 2005 The winner is, The Parrisch Art Museum Southampton, USA 2002 Beethoven Geburtsort unbekannt, Bonner Kunstverein, Germany 2001 Höhen, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany 2000 Ein Gedanke und sein Name, Stadtkunst Bonn, Germany 1999 Fang den Hut, Galerie Eigen+Art, Leipzig, Germany
1997 Schools of Art in Europa, Galleria d’Arte Moderna e Contemporanea, Bergamo, Italy Awards and grants 2005 ISCP New York, Sächs. Staatsministerium für Wissenschaft und Kunst 2003 Ohio, USA, Stipendium der Kulturstiftung des Freistaates Sachsens 2000-2002 Stipendium der Hans-Böckler-Stiftung, Germany 1999 Stipendium des Deutsch-Französischen Kulturrates, Paris 1999 Stipendium des DAAD, Great Britain 1999 Stipendium der Kulturstiftung des Freistaates Sachsens 1998 Ars Lipsiensis, Kunstpreis der Dresdner Bank 1997 Stipendium der Galerie für Zeitgenössische Kunst Leipzig
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New Leipzig – Home Of Oktoberfest three men They have a parade and tractor pulls. They have that little train… and then they hide money in straw. Yeah, they had that. And you've got to find it. They had the turtle race. That’s right. They had a tur tle race. I don’t know how many people show up, 500 to 1000. It really goes two days, really. It’s two days. single man It starts on a Friday night and lasts all day Saturday and then on Sunday morning we have a church service. single woman We have a beer garden in the community center. We serve beer on Friday evenings and then on Saturday morning we have a parade – a kiddy parade, and then a parade with floats in it, and there are like German/Russian foods that they sell, and then in the afternoon we have adult games and children’s games, and we have a dance on Saturday night, and the firemen usually have a supper . single man The beer garden is just inside a big, a large metal building. They're celebrating the harvest, the end of harvest and a good harvest hopefully, and they drink a little beer and dance a little bit, have a good time. single man Well, this year they had
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it on the 4th of July . single man It's usually the last full weekend in September. A special anniversary or something, or an old school reunion and then it’s in June or July . three men There were some people from New Leipzig. They went to Germany on a trip and they thought that since New Leipzig is named after a German community and it’ s mostly German people around here… single man I think it got star ted in... I don’t remember how many we’ve had now , thirty-some, it must've gotten star ted in the 70s, and it has been going every year since. single man Well, we’ve had 33 of them already , so we must like it. It’ s a good celebration. They’re good but the next day you got a headache. W ell it’ s a money-making deal too. They… we make… they make generally about 3,000 dollars. single woman It was 34 last year, so this year was 35, you know , a lot of these people that do these German dishes or think they’re German, you know, the dough dishes that they do... my parents were both… my ancestors came from Germany... and my mother didn’t do a lot
of that stuff, so I don’t know were it comes from. single woman Well they but up banners, but it has nothing to do with German, you know . It’s just banners that they put from one lightpost to the other. Kind of triangle-shaped flags and then they string it from one lightpost to the other, kind of crisscross across the street above the main street: red, white, blue. single woman That's correct. There are a lot of people that come back from, you know, that probably grew up here and come back because they just… It’ s a time when, you know, people get together. three men We've only had a couple of years where we had fights. Y eah, there was a few fights, just a few years. But really it's been… W e’ve never had an accident, nothing big, nobody’s ever got killed. It’s just been a good fun time. three men They drink beer , eat German food and drink a lot of beer . Beer? W ell, all kinds. W e don't have kegs anymore. N o, they sell it in cans. I don't like that. Oh what was so good about that, you’d sell a guy a pitcher of beer and he’d walk around and fill everybody's glasses. It got to be
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messy, but it was fun you know . Y ou’d been standing there with your glass half empty and you’d turn around and look and here it was full. It’ s not an Oktoberfest unless you got keg beer . three men We used to judge the success during the Oktoberfest by the number of kegs of beer we drank, but then it got to be a beer fest, so they had to cut that out. three men What do they eat? They eat bratwurst, pigs in the blanket and Fleishe Kuehkle – what they call kibric. Y ou know what a Fleishe Kuehkle is? You see that’s Russian. It’s hamburger in dough that’ s deep-fried. Sauerkraut and Knephle, you know that? They have Knephle soup. single man What they're eating? Oh, they eat what they figure German food is, mostly dough dishes. three men Only a few star t wearing lederhosen and stuff like that. My wife made me a jacket with a vest and she had a German dress that she made. So, people get together and they eat and drink and be merry , that’ s what it’ s all about. single man N o, there’ s no Hotel. People that come from a distance, they stay either with relatives or maybe they bring a camper and stay on the camp ground and some have friends in N ew Leipzig that they stay with. three men We spoke German at home, my folks made us talk to them in German. single woman That was probably what attracted the Lutheran
Pastor that started the Oktoberfest to this town, because it’ s named after Leipzig, Germany. single woman A lot of times it’s country and western music. W e’ve had dances for young people and just had a DJ that played, you know , the music that teenagers like, but we haven't had that in the last couple of years, because it just hasn't been as good a turn out as we'd like. three men Oomph music. It used to be waltzes and polkas and stuff like that, and now I don’t know kind of music, now it’s kids music, they jump all over. It's rock and roll and whatever . three men There are not many cowboys in this area. Cowboys are over east. single man I’m not sure if it's attitude so much as… It's heritage more than anything probably. People want to remember were they came from. three men That's par t of it yeah, because, I don't remember entirely , but during the Second W orld War, the people around here that were Germans were almost ashamed that they were Germans because of Hitler . But then after the war ended several years later , then they realized they do have something to be proud of: they’re Germans. Germans are hard workers and good workers. single woman I don't think we ever talk about the war, you know, sometimes in the program they have up at the school, you know, it's patriotic. I don't know what they
do there. three men Well, see, because of 177 World War I and W orld War II, which the Germans star ted, the Germans here felt lowly people, they were down... And then, after W orld W ar II, when we star ted the Oktoberfest… This was to pick up the German spirit and feel OK; we are not second rate citizens. W e’re Germans, but we’re Americans. And the kids all flocked from college, "W e’re German too!” And then, they were proud of their heritage. Up until that time, because of Hitler , because of the two wars, the Germans were looked down upon here. But the Oktoberfest was to bring up their spirits and make them feel OK; we're OK too. And I think it helped. single woman In Leipzig Germany? I believe there is. The people that star ted the Oktoberfest, one of them was a Lutheran pastor that lived in Germany for 6 years and had attended Oktoberfests in Germany, but I don’t know what town in Germany he lived in. I couldn't tell you that. three men In Leipzig Germany? I don't know if they do or not. Do they? W ell, do they have one in Leipzig Germany? Huh? What do you think? Yeah, they do. I don’t think so. Isn’t that where it came from? No. single man I would imagine they’ve got one there? I don’t know, do they? single man Munich does. Is Munich about the only place that does have one?
Top left: New Leipzig, 2005-2006, C-print photographs (from a series of 12), 80 x 60cm; left and above: Dialogue from New Leipzig – Home of Oktoberfest, 2005-2006, colour and sound video on DVD, 9’; right: New Leipzig, 2005-2006, postcard
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SUSANNE KRIEMANN Nominated by Nicolaus Schafhausen
Susanne Kriemann’ s photographs are often charged with ambiguity, their suggestive titles evoking ideas from beyond the usual realm of photography. She depicts what art historian Dr. Vanessa Joan Müller has called the ‘ephemeral moments of our historically-amnesiac present day’, displaying an interest in the way that recent history is narrated and understood through collections of documents. The process of montage or juxtaposition plays a key role in her work, although her photographs are never manipulated. By re-assembling facts and fictions in a non-linear fashion, Kriemann hopes to alter perspectives on pre-established images, opening up space for interpretative readings and for the play of the imagination. Nicolaus Schafhausen is director of Witte de With, Center for Contemporary Art, Rotterdam.
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Susanne Kriemann was born in 1972 in Erlangen, Germany. She lives and works in Rotterdam and Berlin. www.susannekriemann.info
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Above: The originality of the Avant-Garde and other modernist myths (the former Central Post Office Rotterdam), 2007; left: At the end of space (the former library of the Saltjörbaden Observatory), 2007
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Education 2000 Ecole Nationale Superieure des Beaux Arts, Paris 1997 Akademie der Bildenden Künste, Stuttgart, Germany Solo exhibitions 2006 Not Quite Replica - Meteorite, Rotterdam public space, The Netherlands 2004 TCM - Rocket Trees, Kantonsschule Zürich, permanent installation 2004 TCM - The Quiet American, Städtische Galerie Erlangen, Germany 2003 TCM - The Golden Six, European Humanitas University, Minsk 2003 TCM - Rocket Trees, Galeria Laboratorium/ CSW Ujazdowski Castle, Warsaw Group exhibitions 2007 Documenten op Drift: Registrerende Blikken Vergankelijke Verschijningen, curated by Nat Muller and Bart Rutten 2007 On Tectonics of History, WYSPA Gdansk, Poland, curated by Dr. Andrea Domesle and Martin Kren 2007 Die Wörter, die Dinge, Kunstverein Düsseldorf, curated by Dr. Vanessa Joan Müller 2007 Open House, IASPIS Stockholm, curated by
Magnus af Petersens and Elin Strand Ruin 2006 Sense and Sensitivity, TENT, Rotterdam, curated by Mariette Doelle 2006 Downloads From Future, Kunsthalle Winterthur, Czech Republic, curated by Oliver Kielmayer 2006 Downloads from the Future, Townhouse Gallery, Cairo, curated by Oliver Kielmayer 2006 Not Quite Replica – Meteorite, Museum Boijmans van Beuningen 2005 Zur Tektonik der Geschichte, Forum Stadtpark Graz, Austria 2005 TCM/Triumph of the Will Revisited, International Biannual for Contemporary Art, Prague 2002 Franz West-Burning, MAC, Marseille, France 2001 Franz West-Appartement, Deichtorhallen, Hamburg, Germany Residencies 2007 Project studio Berlin, Büro Friedrich/ Fonds BKVB 2006 IASPIS, Stockholm 2006 Townhouse Gallery, Cairo 2004-2005 Rijksakademie, Amsterdam 2000 Cité International des Arts, Paris 1999 Karl-Hofer-Gesellschaft, Berlin 1995 Zurikov Institute, Moscow
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Above: Alice in wonderland (IKEA Stockholm) , 2007; right: Conditioned air (Berlin Alexanderplatz), 2006
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LISA KRIVACKA Nominated by Tom Eccles
Lisa Krivacka’s paintings offer a consciously kitschy, yet almost loving, portrait of American lifestyle of the fifties and early sixties. She does so by trawling the Internet for postcards and anonymous photography of what she calls “the other Hallmark” N ot t hat K rivacka s eeks a n A merican u nderbelly; r ather th e images she chooses to paint convey the limited pleasures, both real and imaginary, of those who proudly inhabit the worlds she selects to represent. They stir a certain sadness in our gaze; like visiting grandma’s knick-knack-filled living room for the last time. Gone i s th e me lancholy f rom a s econd s eries o f w orks t hat represent th e u topian v ision o f m id-century d esign a nd t he consumerist promise of comfort and abundant leisure. I n both
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series, Krivacka moves beyond the original found imagery, often reworking the source material, “improving” it perhaps to create a f ictional re ndering o f p erfectly-made h otel b eds, s wimming pools a nd l andscaped g ardens. L ike t he g eneric p ostcards o f roadside motels the ar tist seeks for inspiration, these atmospheric snap-shots suggest a simple time we probably long for but which never truly existed. Tom Eccles is Executive Director at the Center for Curatorial Studies and Hessel Museum of Art, Bard College. Lisa Krivacka was born in 1963 in Clarksville, T lives and works in Germantown, NY.
ennessee,
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Above: Giant Generators, 2007, oil on wood, 12” x 15”; left: Holiday Inn, 2007, oil on wood, 12” x 15”
Education 1986 BFA, School of the Art Institute of Chicago Solo exhibitions 2006 Wild Life, Leslie Ferrin Gallery, Lenox, USA 2004 Open House, Kerrigan/Campbell Art + Projects, New York 2004 Open House/Into the Woods, Aron Packer Gallery, Chicago 1999 Wish You Were Here, Bodell Gallery, New York 1999 American Dream, Ann Nathan Gallery, Chicago Group exhibitions 2006 I Love the Burbs, The Katonah Museum of Art, Katonah, USA 2006 New Blood, Finer Things Gallery, Nashville, USA 2006 Sugar Coated, Women and Their Work Gallery, Austin, USA 2005 The Woods, DFN Gallery, New York 2005 The Navigators, Leslie Ferrin Gallery, Lenox, USA 2005 Critters, DFN Gallery, New York
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2005 Portraits, Leslie Ferrin Gallery, Lenox, USA 2004 Hunters & Gatherers, Leslie Ferrin Gallery, Lenox, USA 2004 Home Fires Burning, Wendy Cooper Gallery, Chicago 2004 Uneasy Places, Dean Jensen Gallery, Milwaukee 2004 Mendenhall/Sobieski Gallery, Pasadena 2004 Home for the Holidays, Kerrigan/Campbell Art + Projects, New York 2003 Abstracting the Domestic Landscape, Beaker Gallery, Tampa, USA 2003 Halcyon Days, Kerrigan/Campbell Art + Projects, New York 2003 The Burbs, DFN Gallery, New York 2003 Word Works, Adam Baumgold Gallery, New York 2002 Forrest Scott Gallery, Milburn, USA 2002 Wendy Cooper Gallery, Madison, USA 2001 Double Visions, Adam Baumgold Gallery, New York 2001 Group Fusion, Ann Nathan Gallery, Chicago
2001 David Lusk Gallery, Memphis 2001 Identities: Contemporary Portraiture, New Jersey Center for the Visual Arts, Summit 2000 Quirky, Adam Baumgold Gallery, New York 2000 Artists We Like, Wall Street Viewing Room, New York 2000 Overcast, Allston Skirt Gallery, Boston 2000 Of Time and Place, Wustum Museum of Art, Racine, USA 2000 School’s Out, Wendy Cooper Gallery, Madison, USA 2000 Small and Mighty, Ann Nathan Gallery, Chicago 1999 The End is Near: Artists Look at the 20th Century, The Wustum Museum of Art, Racine, USA 1999 Of Darkness and Light, Contemporary Landscape Painting, Art Museum of West Virginia 1999 Art@Work, Forbes Magazine Gallery, New York 1998 Ann Nathan Gallery, Chicago 1998 Wishful Thinking, Graham Gallery, New York 1998 Conviviality & Confetti: Holiday Imagery in Art, The Noyes Museum of Art, Oceanville, USA
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Above: Noel, 2007, oil on wood, 10” x 8”; top left: Aluminum Hospital, 2007, oil on wood, 12” x 15”; left: 7 Gables, 2007, oil on wood, 12” x 15”; far left: First Christmas, 2007, oil on wood, 8” x 10”
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LA LOKO
Nominated by Jacob Lillemose I often have to ask myself, how can idealism survive in a world burdened by extensive rationalisation and disillusion? And if survival is possible, how does it avoid ending up as either fascistic or hypocritical? I find the answer to both questions in the wide-ranging artistic practice of La Loko. Their medium is the universal language of Esperanto and their method is humour. La Loko take their lesson from history and say that if any kind of idealism is to be taken seriously , act intelligently and eventually succeed, it must be able to make fun of itself. I could not agree more and I would add that La Loko do succeed, even beyond what politicians could imagine. Through their subtle and yet inclusive humour they balance the profound idealism of Esperanto and connect it with the dynamics of real world situations. Whether cooking eggs, organising a football team for the World Cup, publishing a comic-strip language course or producing a sitcom La Loko show that to be idealistic and humourous is not a contradiction in terms, but rather an auspicious combination. Faced with today’ s many conflicting realities, I am convinced that idealism in the form that La Loko represent it is indeed needed as much as ever . Through their use of humour to promote the Esperanto message they foster the belief in me that idealism
can not only survive, but correct and renew itself. Whereas most people probably think of Esperanto as a dead language from a dead utopian past, for La Loko (meaning “the place” in Esperanto) it still represents a genuine potential to conceptualise and realise a new and better world. Call me naïve, call me romantic but I choose to believe them. Only by using the appropriate software can we truly reprogram... Jacob Lillemose is a freelance curator and critic based in Copenhagen. La Loko means ‘The Place’ in Esperanto. L a Loko produces twisted simulacra of media and corporate structures and inserts the idealist language of Esperanto, wh ere one usually would expect Eng lish. La Loko aims to reflec t upon the way language, images, and sites originate, work, an d affect us. La Loko has, for instance, produced the pilot episode for the world’s first sitcom in Esperanto. La Loko has also operated a prototype for an Esperanto fast-food chain. La Loko is currently campaigning to get FIF A to accept that an Esperanto team be allowed to qualify for the 2010 World Cup in South Africa. La Loko was founded in 2003 by Olof Olsson and Daniel Salomon: www.laloko.org
Solo exhibitions 2006 Kolbasoj Sen Limoj, The Living Art Museum, Reykjavik 2005 Espero, Overgaden Institute of Contemporary Art, Copenhagen 2005 OVO, Appendiks, Copenhagen 2005 La Loko c/o Gefärhlich, Copenhagen 2004 La Loko c/o Vo, Copenhagen Performances 2007 Viva Lingvo, Den Frie Udstillingsbygning, Copenhagen 2006 Sponsor speech, Beursschouwburg, Brussels 2006 Launch speech of Kolbasoj Sen Limoj, Living Art Museum, Reykjavik 2006 Esperanto Football Team, Parade, Copenhagen 2006 Thai – Esperanto Friendship Conference, Royal Hotel, Bangkok 2005 Esperanto class, W...WirWissen, Kunsthalle Exnergasse, Wien
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Above: La Loko publicity shot, 2006; top left: La Lokoâ&#x20AC;&#x2122;s logotype, 2004; left: OVO, 2005, prototype for Esperanto fast food chain, exterior view and uniforms, Appendiks, Copenhagen; right: OVO, 2005, cooking of soft-boiled eggs to order, Appendiks, Copenhagen
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Above: Espero, 2005, sitcom in Esperanto, production stills; far left: Kolbasoj Sen Limoj, 2006, logo, Sausages Without Borders â&#x20AC;&#x201C; a non-national sausage company launched on the national day of Iceland, The Living Art Museum, Reykjavik; below (left to right): Esperanto-Thailand Friendship Conference, 2006, speech in Esperanto, English and Thai, and flag-cake, Royal Hotel, Bangkok; right: Esperanto Football team, 2006, Parade, Copenhagen
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DEBBIE LAWSON Nominated by Doriane Laithier
There’s a ‘Desperate Housewife’ streak in Debbie’ s work, a sense of joyful naughtiness mixed with melancholia, inherent in real-life suburban aspirations and desires. Her sculptures use household objects and varied pieces of furniture which she brings to life melodramatically, defining their new existence by misbehaviour: a table collapses when approached, a Persian carpet crashes on the wall, fancy chairs do the cancan...
She also makes beautiful marquetry pieces, inlaying large wooden boards as if she were tatooing their bourgeois veneer, artfully scarring the skin with sexual or animal imagery . Doriane Laithier is an artist and one of the founders and organisers of PILOT. Debbie Lawson was born in Dundee. She lives and works in London.
Left: Sugar for my Honey, 2003, mixed media, dimensions variable; right: Tsunami, 2006, carpet and glue, dimensions variable
Education 2002-2004 Royal College of Art, MA Sculpture 1998-2001 Central Saint Martins College of Art, BA Hons Fine Art (First Class) 1985-1988 University of East Anglia, BA Hons English Literature Group exhibitions 2007 The Joy…, Brick Lane Gallery, London, curated by Kate Street 2007 Arboreal, Transition Gallery, London, curated by Tobi Deeson 2006 Shibboleth, Dilston Grove, London, curated by Neil Drabble, Charlie Fox and Nigel Robinson 2006 Myth of Place, Nolia’s Gallery, London, touring to Ox Warehouse Gallery, Macao, China, curated by Jonathan Chalmers and Bianca Lei 2006 Sense and Sensuality, Bankside Gallery,
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London, touring to Leicester University, curated by BlindArt 2006 Small Mischiefs, The Pump House Gallery, London, curated by Nick Kaplony and Angela Huntbach 2006 Another Product, Cornerhouse, Manchester, curated by Dawn Woolley and James Moore 2005 Siege, Siege House, London, curated by Angela Huntbach 2005 English Wood, Ninky’s, London, curated by Neil Haas 2004 Violin/Violence, 1000000mph Gallery, London, curated by Dallas Seitz 2004 Everyday Shockers, The A Gallery, London, curated by Fraser Kee 2004 Out of Time, St Augustine’s Tower, London, curated by Angela Huntbach
2003 Step Two, Aram, London, curated by Daniel Charny 2003 The Lost Collection of an Invisible Man, The Laing Gallery, Newcastle, curated by Brian Griffiths 2002 Moving Parts, Studio Voltaire, London, curated by Nik Ramage 2002 Trivial Pursuit, CCD, Belgrade, curated by Vanessa Able 2002 SV Open, Studio Voltaire, London, curated by Eva Tait 2002 Dundee Contemporary Arts Print Open, Cooper Gallery 2002 The Necessary Enemy, Bart Wells Institute, London, curated by Brian Griffiths Collections The Saatchi Collection Mario Testino, private collections worldwide
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Top left: Sideways, 2006, wood veneer on MDF, 25 x 35cm; left: Golden Brown (2 details), 2004, wood veneer on MDF, 243 x 726cm; this page top: Dancing Queen, 2003, chairs, motor and cables, dimensions variable; above: Nest, 2003, wood, dimensions variable
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DEBBIE LAWSON
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DAVID LEFEBVRE Nominated by Inge Linder-Gaillard
David Lefebvre is a painter in a country where artists are afraid to call themselves painters. His work, all oil on canvas, is an act of resistance in our world of continuously evolving technology and hyper -activity. He resists not by denying this world or condemning it, but by taking the images found in it and created by it and isolating them, and in a way embracing them. Through the act of painting them he spends time with them and in them; creates and recreates them in the slow-to-apply , slow-to-dry, contemplative mode that oil painting exemplifies. The subjects of his pictures are as varied as family and friends, celebrities and fictional heroes, scientists in their laboratories, landscapes, weird takes on de Chirico-like, sometimes spectrefilled venues. While one could hastily conclude that he does not choose a more homogeneous subject matter because he is incapable of doing otherwise, on closer inspection the choice to not choose is revealed as par t of his strategy , mirroring the absence of choice we all face in dealing with images daily , hourly, every second. David Lefebvre stops the clock and holds onto the image. His paintings are death-defying. Inge Linder -Gaillard is curator at Le Magasin, Centre for Contemporary Art in Grenoble.
David Lefebvre was born in 1980. He lives and works in Grenoble, France.
Education 2005 DNSEP school of art of Grenoble 2003 DNAP school of art of Grenoble Solo exhibitions 2006 DIFFUSION 138, Grenoble Group exhibitions 2006 Mulhouse 006, Mulhouse, France 2006 Manpower, Béton Salon, Paris 2005 Fresh Europa, Hungarian embassy, Berlin 2005 Fresh Europa, KOGART Foundation, Budapest 2005 Pavillon Clandestin, the Alliance Française, Venice 2005 Ebauchoir Gallery, Lyon, France 2005 Smoking Collectif, Art School of Grenoble, with participation of the Lambert Foundation 2005 King Size, EMME, Grenoble, France 2004 45eme Parallèle, National Centre of Contemporary Art, Grenoble (Le Magasin)
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Above: Botox, 2004, oil on canvas, 17 x 27cm; left: Michelin, 2006, oil on canvas, 65 x 100cm; right: Alex Khan, 2004, oil on canvas, 2 0 x 22cm
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Top left: Sans titre, 2006, oil on canvas, 38 x 46cm; far left: 04_04_2005, 2006, oil on canvas, 35 x 45cm; left: PME camion, 2007, oil on canvas, 45 x 60cm; above: H&M, 2006, oil on canvas, 90 x 120cm; right: Maison, 2004, oil on canvas, 200 x 200cm
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198-201 Levin
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ALON LEVIN Nominated by Ann Demeester
Ann Demeester is Director of De Appel, Amsterdam. Alon Levin was born in 1975 in Ramat Gan, Israel. He lives and works in Amsterdam and Berlin.
Left: Colour Study of group behaviour and the Need to Control, 2005, flowers 1 to 100, drawings, watercolours on paper, installation view, ‘In order of appearance’, Living Art Museum, Reykjavik; right: Colour Study of group behaviour and the Need to Control, 2005, plants, wood, installation view, Rijksakademie, Amsterdam
Group exhibitions 2007 De Appel, Prix de Rome, Amsterdam 2007 Smart Project Space, The Stability of Truth, Amsterdam 2006 Rijksakademie van beeldende kunsten, Open Ateliers, Amsterdam 2006 Living Art Museum, In order of appearance, Reykjavik 2006 Family park Harry Malter, ZOO Logical Garde, Heusden, Belgium 2005 Extra City, Information/Transformation, Antwerpen, Belgium 2005 Museum für Gestaltung, Handmade, Zürich 2004 Stedelijk Museum CS, Mark, Amsterdam 2002 Amstele, Art incentive prize 2002, Amstelveen, Netherlands
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Left: A History of Economic Thought or the Execution of Progress , 2006, wood, clamps, drawings, silkscreen, installation view , Rijksakademie, Amsterdam; this page: The fake, the future and the finite (a commemoration of the absolute in the 21st Century), Part 1: Sun, Rainbow, Arch, 2007, wood, paint, drawings, collages, installation view, â&#x20AC;&#x2DC;The Stability of Truthâ&#x20AC;&#x2122;, SMART Project Space, Amsterdam
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ALON LEVIN
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MINOUK LIM Nominated by Jinsuk Suh
Lim Minouk is a producer -like artist who extends her working field through making relationships with the society rather than studying the independent ego of human. In other word s, she personalises the present society in her own perspective through cooperating with others and planning p rojects, and raises other questions to us. Lim’s works use the characteristics of sharing various feelings between individuals and composing visual values. They are also making much larger relational situations with the society we are living in, transcending the isolated individual realms. Therefore, her works show different aspects from the importance of consequential images, which is preferred due to social characteristics of Korea that can be represented as dynamicness or compressibility , or direct way of communication, and stress the action- meaning in the process of working. The consequential images of her works, following the working process through diverse variability and extensiveness, make us feel even some descriptive ambiguity. In “subjective neighbours” (2000, installation), which was produced by Lim Minouk and Frederick Michon, the couple extend the prejudice of ar tist couple, and accept the relationships between ar tist and ar t gallery, and employer and employee as the members in a community but, at the same time, create other alternative relationships through architectural spaces. Pidgin collective, where she belongs to, is an aggregate of various genre and class, just like its lexical meaning ‘mixture’. This group compares the similarities and difference in each social situation that we are standing on. Also, Pidgin collective conducts research on relational meaning between other class and generation, and the action of communication. Lim raises a number of questions in our way of living, producing a variety of projects. However, her attempt to express the way the p resent s ociety i s m oving wi thin t he r elationship b etween self-reflection and self-inquiry induces reliability, or selfexamining q uestions, n ot s ocial ch ange a s t he w ay o f r elative opposition a nd c lash t hat b ehavioural a rt, w hich u sed t o b e considered the mainstream art in Korean art history, has shown. What’s more, it rather remains as it is, with conflicts and disorder. Because the most desirable society which Lim Minouk tries to suggest, and which we are in the need of, does not go with simplified patterns or intellectually designed blueprint. Jinsuk Suh is Director of alternative space LOOP , and adjunct Professor at Kyung Won University. Minouk Lim was born in 1968 in Daejeon, Korea. She lives and works in Seoul.
MINOUK LIM
Education 1995 Art Plastique, Universite Paris I, BFA 1994 Ecole Nationale Superieure des Beaux-Arts de Paris, DNSAP 1989 Ewha Women’s University, Seoul Solo exhibitions 2000 Subjective Neighbours, Insa Art Space, Seoul 1999 Screen Drugs, alternative space In the Loop, Seoul Group exhibitions 2007 The 7th Hermes Korea Art Prize 2006 Somewhere in Time, ArtSonje Center, Seoul 2006 6th Gwangju Biennale, The Last Chapter, Trace Route 2006 Public Moment, Sup Gallery, Artist Forum International, Seoul 2006 Symptome of Adolescence, Rodin Gallery, Seoul 2006 Be Patient, Otherwise Cry, e-flux video rental film festival in Antwerp, Belgium 2005 Parellel Life, Frankfurter Kunstverein, Germany 2005 Where is my friend’s home? Kunstlerhaus, Mousonturm, Frankfurt
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Above and left: New Town Ghost, 2005
2005 e-flux video rental, Insa Art Space, Seoul 2005 Cosmo Cosmetic, Gallery Space*C, Seoul 2005 Will you love me tomorrow, History of Women Exhibition Hall 2004 This is not a love letter, Flyer project, Marronier Gallery, Seoul 2004 Rolling Space, LOST? Container project, Marronier Gallery, Seoul 2004 Seoul New Media Art Festival, Ilju Art House, Seoul 2003 8 tempo of Seoul, Montevideo Netherland Media Art Center, Amsterdam 2001 Lunch time of Necktie forces, Posco museum, Seoul 2000 Super Korea Expo, Tokyo Big site, Japan 2000 Ganggyung-art, history, images, Hanlim Museum, Daejeon 1999 Photography Look at us, Seoul Metropolitan Museum 1999 Mixer & Juicer, Flow: New Tendencies in Korean Art 1999 The Korean Culture & Arts Foundation, Seoul
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1999 Les faits, Gallery la Ferronerie, Paris 1998 City and Image: Food, Clothing, Shelter, Seoul Metropolitan Museum 1997 Selestâ&#x20AC;&#x2122;Art Contemporary Art Biennale, Selestat, France Collaborations 2006 Picket, Non-violence resistance manual project, Chunchon 2005 Vacuum Channel, Experimental Exchange project, Chunchon 2005 SYFAC Haja Center Art director, Seoul 2005 Insa Art Space Pidgin Archives, Seoul 2004 Scrap, Container Project, SYFAC haja center, Seoul 2003 Pidgin Collective formation 2000 Pump Girok & the Landslip division founding member Awards 2007 The 7th Hermes Korea Art Prize 2006 6th Gwangju Biennale Gwangju Bank Prize 1995 Albert Rocheron Foundation 1st Prize, Paris 1996 Comitee des Gallerie dâ&#x20AC;&#x2122;Art 1st Exhibition Grant
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Above: Original Live Club, 2006; right: Tenor & Sweet Potatoes, 2004; left: LOST?, 2004
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206-209 Linz
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PIA LINZ
Nominated by Dr Ingrid Pfeiffer The three-dimensional "box engravings" of Pia Linz are modifications of her three-dimensional "cube pictures", which she has developed since 1997 in various aspects and in different forms. She selects a specific architectonic or a landscape location. Then according to this space she builds perspex boxes. At the chosen location she sits inside her construction and captures what she observes around her in detailed drawings on the transparent inner walls. Pia Linz is in fact tracing what she sees three-dimensionally on the two-dimensional perspex surface. After this, in her studio she renders the drawing permanent, by engraving the lines into the perspex. The second important part in her work are large-scale drawings: In 2006/7 Pia Linz spent a year-long residency in London. She
made observations of her living and working space in Lyal Road and synchronised them in a large-scale pencil drawing, in which the terraced house mutates to a free floating entity linked only to a footstep measuring scale. Next, she transferred this picture and working concept to the drawing of Mile End Park. While the core of he r work deals with self orientation in the world, the specific essence of the picture itself always plays an important role for her. Ingrid Pfeiffer is a curator at Schirn Kunsthalle Frankfurt.
Pia Linz was born in 1964 in Kronberg i. T She lives and works in Berlin.
., Germany .
Left: Pia Linz is painting a Cube picture in the shopping mall of Bad Ems, 1999. Photograph by Annette Kisling; top right: Pia Linz is sitting in an acrylic glass box under the staircase in the foyer of Berlin’ s TV-Tower, working on the drawing for Box engraving. Photograph by Sheila Barcik; Right: Box engraving: TV-Tower (Berlin/Alexanderplatz), 2004, under the staircase, 80 x 200 x 138cm, engraving on acrylic glass box, gouache
Education 1983-1989 MA at the Städelschule, Frankfurt, under Thomas Bayrle, Johann Georg Geyger, Felix Dröse and Christa Näherw Solo exhibitions 2007 Kunstpunkt Berlin 2005 Galerie aktueller Kunst im OSRAM Haus, Munich 2004 Raumpausen, öffentlich, Kunstpunkt Berlin 2003 In der Mitte der Ferne, galerie weisser elefant, Berlin 2003 Landauf, landab, Herrenhaus Edenkoben 2001 VorOrt, AusstellungsHalle Schulstrasse 1A, Frankfurt a. M. 2001 VON MIR AUS, Hessischer Rundfunk, Marielies Hess-Stiftung e.V., Frankfurt a. M. Group exhibitions 2007 Förderkohle - Stipendiatinnen und Stipendiaten der Kulturverwaltung des Berliner Senats 2007, Neuer Berliner Kunstverein (NBK), Berlin 2007 Gezeichnet 2, galerie weisser elefant, Berlin 2006 HEAVEN, house of Hessische Kulturstiftung,
PIA LINZ
London Biennale, London 2006 Check in, Carte Blanche in Studio Ra Contemporary Art & London Biennale, Rome 2006 Preview, Berlin 2006 3. Berliner Kunstsalon, Berlin 2006 FÜNF JAHRE, Kunstpunkt, Berlin 2005 ZWISCHEN HIMMEL UND ERDE, Pia LinzAnja Teske, Bellevuesaal, Wiesbaden 2005 RESERVOIR IX -behaust- unbehaust, Wasserspeicher-Prenzlauer Berg, Berlin 2004 9 Unterscheidungen zur Zeichnung, Neuer Kunstverein Aschaffenburg, KunstLANDing, Aschaffenburg 2004 Zum Thema: Landschaft, AusstellungsHalle Schulstraße 1A, Frankfurt a. M. 2004 1. Berliner Kunstsalon, Berlin 2004 Spacing, Galerie Nord/Kunstverein Tiergarten, Berlin 2003 Balmoral in Berlin, Landesvertretung RhinelandPalatinate, Berlin 2003 Balmoral-Berlin, Fruchthalle, Kaiserslautern
2003 Kunstpunkt, Berlin 2002 Sight/seeing, lothringer13/halle, Munich 2000 Frankfurter Edition, Sädelmuseum, Frankfurt a. M. Grants 2007 Working grant of Berliner Senatsverwaltung für Wissenschaft, Forschung und Kultur 2005-2006 London grant of Hessische Kulturstiftung 2003 Working grant in Herrenhaus Edenkoben 2000-2001 Working grant of Hessische Kultur GmbH 1999 Working grant of the Rhineland-Palatinate in Künsterhaus Schloß Balmoral, Bad Ems 1989-1990 Rome grant of Studienstiftung Des Deutschen Volkes 1988 Admission in Studienstiftung Des Deutschen Volkes Public collections Hessisches Landesmuseum Darmstadt, Deutsche Bank, Deutscher Investment Trust, Collection of Rhineland-Palatinate, OSRAM Collection
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Mile End Park, 2006, detail study for the big park drawing, pencil on paper, 42 x 59.4cm
PIA LINZ
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Detail from the detail study for the big Mile End Park drawing
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PIA LINZ
210-213 Liskevicius
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DAINIUS LISKEVICIUS Nominated by Simon Rees
Dainius Liskevicius combines playfulness and rigor in his multimedia installations and performances that often involve scaleshifts or manipulations of the audience perception. The title of his installation High Culture Unexplored Dream (2004) says it all. Comprised of modernist style white-on-white furniture, ambient soundtracks, and circular projection screens mounted on the ceiling it is a floating world – the images on the screens are piles of laundry part Eigerhorn, part crawlspace, at odds with the coolness of the furniture. The piles are a reminder of the detritus that life is awash with; in the Lithuanian context when the first shudders of second phase capitalism signified by home renovation and expenditure on designer interior furnishings they are like the vestiges of an earlier soviet moment, that piece of furniture that hasn’t been replaced yet. It’ s difficult to tell whether the abiding reaction should be of nostalgia or horror .
Nationalism associated with the birth of the newly independent state (now 15 years old) is dealt with in similar measure. The Lithuanian flag plays backdrop to a number of wry-comic performance pieces. And the popular local legend that, by way of longitude and latitude, V ilnius is the centre of Europe is turned upside down in an ongoing series of performance photographs Centres of the World: Enjoy Yourself in which the artist performs a handstand in different European cities; signifying that centres are where you make them and nothing is more central to art production than an alternative view point. Simon Rees is a curator at the Contemporary Art Centre (CAC), Vilnius, Lithuania. Dainius Liskevicius was born in 1970 in Kaunas, Lithuania. He lives and works in Vilnius, Lithuania.
Left and right: High Culture Unexplored Dream, 2004, installation, objects, videoprojection, sound
Education 1996 Vilnius Academy of Arts, Department of Sculpture, Vilnius, Lithuania Solo exhibitions 2004 High culture unexplored dream, Contemporary Art Centre, Vilnius, Lithuania 2004 The Centres of the World / Enjoy Yourself, San Francisco Airport, USA 2003 Timer/ 8 sec, A. Mon_ys House Museum, Palanga, Lithuania 1999 Baltic Art Center, Visby, Sweden
DAINIUS LISKEVICIUS
1996 God - Spiritual Attraction of a Man, Jutempus Gallery, Vilnius, Lithuania Group exhibitions 2006 Independent Drawing Gig (IDG) Vol. 2, Museum of Contemporary Art, Skopje, Macedonia 2006 International Performance Art Festival ‘Dimension 1’, Contemporary Art Centre, Vilnius 2006 101,3 KM: Competition and Cooperation, Kaunas Picture Gallery, Kaunas, Lithuania 2005 VIII biennial of graphics of the Baltic Countries, Kaliningrad state art gallery, Kaliningrad, Russian
2004 In My Own Juice, Rottermann Salt Storage, Tallinn, Estonia 2004 The others are me, Bunkier sztuki, Krakow, Poland 2003 24/7 Wilno–Nueva York, Contemporary Art Centre, Vilnius, Lithuania 2002 Lithuanian Insight: Photography 1960 to Now, Fotografie Forum International, Frankfurt/M., Germany 2001 The 1st Valencia Biennial. Video Room, Valencia, Spain 2001 Fluxus at Art in General, Art in General, New Y ork
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2001 Self-Respect, Contemporary Art Centre, Vilnius 2001 Too close, too distant, Grand Hall of Riga, Latvia 2001 Nato Walls, Contemporary Art Centre, Vilnius, Lithuania 2000 Innocent life, Contemporary Art Centre, Vilnius, Lithuania 2000 Parallel Progressions, Contemporary Art Centre, Vilnius, Lithuania 2000 Port of Art, Kotka, Finland 2000 Marseille-Vilnius-Warszawa, Academy of Arts, Warsaw, Poland
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2000 ArtGenda, Helsinki, Finland 1999-2000 N.E.W.S. The Baltic Biennial of Contemporary Art, Castle of Pomeranian Dukes, Szczecin, Poland; Gallery NOASS, Riga, Latvia; Baltic Art Centre, Gotlands Art Museum, Visby, Sweden 1999 NL â&#x20AC;&#x201C; LT, Begane Grond, Art Centre Utrecht, Utrecht, Netherlands 1998 The Different - The Same, Bergens Kunstforening, Bergen Norway 1998 Cool Places, Contemporary Art Centre, Vilnius, Lithuania
1997 Europe > Humanisme, FRAC Alsace, Selestat, France 1997 Dimension O, Festival of Performance Art, Contemporary Art Centre, Vilnius, Lithuania 1997 Lithuanian Dialogues, Stazione Marittima, Trieste, Italy 1996 New Lithuania, Academy of Arts, Gdansk, Poland 1996 Bread and Salt, Contemporary Art Centre, Vilnius, Lithuania & College of Art, Edinburgh, and Cornerhouse, Manchester, UK
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Above and right: Centres of the World / Enjoy Yourself, 1999 â&#x20AC;&#x201C; to be continued, performance, CPrints; below: Restart / Kliaksas, 2000, four video performance stills
DAINIUS LISKEVICIUS
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DAINIUS LISKEVICIUS
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JOHAN LÖFGREN Nominated by Jacob Dahlgren
Johan Löfgren “the missing link between Modern Painting and technology” Jacob Dahlgren is an artist based in Stockholm.
JOHAN LÖFGREN
Art is a GAME. Play Hard, or Don’t Play At All. Johan Löfgren was born in 1972 in Stockholm, lives and works.
where he
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Above: Assassination of cubism, 2006, mixed software, dimensions variable; left: Snatching the art chain, 2005, mixed software, dimensions variable
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Education 2003 Royal University College of Fine Arts, Sweden 2001 Electronics, Fysikum, Stockholm University Exhibitions 2007 Market, Konstakademien, Stockholm 2007 Transit Art Space, Stavanger, Norway 2006 Tilt, Mårtenson & Persson, Båstad, Sweden 2006 A4-geometric, Örebro konsthall, Örebro, Sweden 2006 National Museum of Science and Technology, Stockholm 2006 Market, Konstakademien, Stockholm
2006 Landskap, Studio 44, Stockholm 2005 The cracked up art-scape, Splintermind, Stockholm 2003 Debut, Galleri Mejan, Stockholm 2003 The Expanded Book, Färgfabriken, Stockholm 2003 Action Work, Biblioteksgatan 11, Stockholm 2003 Vägskäl, Leksandskulturhus, Leksand, Sweden 2002 Konstnärer …, Kulturhuset, Stockholm 2001 8 dagar, Galleri Enkehuset, Stockholm 2001 La revolutione noi, Kulturhuset, Stockholm 2000 Recycled, Dresden Academy, Dresden, Germany
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Below: PIXELIT No 47, 2006, mixed software, dimensions variable; right: Drifting Arithmetic, 2007, mixed software, dimensions variable
JOHAN Lร FGREN
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JOHAN Lร FGREN
218-221 Lynch
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SEAN LYNCH Nominated by Mike Fitzpatrick
Since graduation from the Stadelschule in Frankfur t, Sean Lynch continues to investigate and shine a spotlight o n a wide range of forgotten historical subjects. Using his practice as a platform against the cultural amnesia that s urround varied topics, Lynch’s research, photographs and installations advocate a kind of activism towards history . He discloses and builds upon fragile stories and objects, magnifying traces of their often-idiosyncratic existence. Throughout Europe the culture of progress predominates rather than a culture of survival. Lynch is specifically interested in the friction between these two processes, often referring to W alter Benjamin’s subtle notion of ‘revolutionary nostalgia,’ that of an active remembering that reinterprets the role of history in critical relation to contemporary discourse. L ynch’s speculative and inquisitive energy seems to circulate everywhere things appear to be undervalued. He has investigated alleged supernatural trees, in danger of destruction from Ireland’ s new motorways in the video work Latoon. In Finding Richard Long,
he traces the contemporary condition of Long’s sculptures in the Irish landscape. Previous works have encountered the history of the Eurovision Song Contest, considered the office workers of Mies V an Der Rohe’ s Seagram building in N ew Y ork, and researched Joseph Beuys’ visits to Ireland. In recent months, he has been searching for the mythical island of HyBrazil, last seen in the Atlantic Ocean in 1872. Lynch’s venture is to pick up these marginalised fragments, and to renegotiate them into alternative configurations. His gallery presentations become an open space for the feedback of history and myth to occur , and allow a place for the continued recovery of further tales and forgotten histories. Mike Fitzpatrick is Director of Limerick City Gallery of Art, Ireland.
Sean Lynch was born in 1978 in Kerry, Ireland. He lives and works in Frankfurt.
Left and right: Smokers at the Seagram, 2004, colour photographs
Education 2005-2007 Study of Fine Art, Stadelschule, Frankfurt 2004 MA History of Art, University of Limerick 2001 BA Fine Art, Limerick School and Design Solo exhibitions 2007 Limerick City Gallery of Art, Ireland 2007 Galway Arts Centre, Ireland 2006 Ritter & Staiff, Frankfurt, Germany 2005 Kilkenny Arts Festival, Ireland Group exhibitions 2007 Overtake: reinterpretation of modern art, Lewis Glucksman Gallery, Cork, Ireland 2007 The Opening Show, Oeen Group, Copenhagen 2006 Premio Fondazione Arnaldo Pomodoro, Milan 2006 Junge Talente, Messe Offenbach 2005 Damaged Collateral, Context Gallery, Derry, Ireland 2004 Open Studios, Triangle Workshops, New York 2004 You Should Really Go There, Limerick City Gallery of Art, Ireland 2004 The Suicide of Objects, Catalyst Arts, Belfast, Northern Ireland 2003 ev+a 2003, Limerick, Ireland
SEAN LYNCH
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Above: Finding Richard Long: A Circle in Ireland, from 1975, was found close to Doolin Pier. Visitors to the site have seemingly repaired any deterioration to Longâ&#x20AC;&#x2122;s sculpture by continually adding further stones, 2006, photograph. Part of a continuing project to trace the contemporary condition of Richard Longâ&#x20AC;&#x2122;s sculptures in the Irish landscape
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Above: Latoon, 2006, DVD. In 1999, folklorist and storyteller Eddie Lenihan campaigned to save a whitethorn bush from being destroyed by the construction of a 90 million road scheme in Latoon, County Clare. Lenihan claimed that the bush is an important meeting place for supernatural forces of the region, and warned that its destruction would result in death and great misfortune for motorists travelling on the proposed new road. Clare County Council, acting on
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his advice, eventually changed the direction of the road away from the bush. In 2006, Lenihan agreed to further explain the significance of the bush. As we arrived at Latoon, we encountered the construction of another road nearby, and the bush once more seems to be in dangerâ&#x20AC;Ś ; below: Dublin Airport, 23 March 1970, approximately 5pm, 2006, digitally restored photograph. Irelandâ&#x20AC;&#x2122;s winning Eurovision Song Contest party arrive home
SEAN LYNCH
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RORY MACBETH Nominated by PILOT:
Rory Macbeth has one of these idiosyncratic practices in which the work happens beyond a par ticular medium or a specific theme, constantly searching for its very grounds. He re-sprays burnt-out cars or scooters with shiny-glossy paint to make them appear as brand new ar ticles and/or fully intended post-modern sculptures. He makes bandages, out of paint, to apply on and correct paintings found in car-boot sales. He graffiti-s the entirety of Thomas Moore’ s Utopia on a building vowed for destruction, while fully aware of the ridicule of the under taking. He does guided visits at the T ate, improbably rewriting the intentions and stories behind wellknown masterpieces in the hope that someone foolish enough will believe him and spread the word. What differentiates him from other people working in similar ways is that he doesn’t seem to be after the exhilaration of being clever, his work is always willingly either too subtle or too laboured (and believe me labour is a small word). Indeed his work is taking place/focusing on the difference in
potentials, the distance between the clean, pure intentions and the final product, between “high” and “low” art, between the PR bullshit and the actuality , between ar t historical nurture and genuine wonderment that something which can generate so much passion, hatred, debate or blah-blah, and can be indeed, great, is in the end, as any ar t handler knows a dismal couple of bits of wood with some pigment scraped on a piece of canvas (i.e a painting). Macbeth finds his relevance in not taking par t in the usual debate of “is it ar t?”, “is it not?”, “what constitutes ar t today?”… the real question for him being WHERE IN THE HELL IS IT? The PILOT : committee this year includes Colin Guillemet, Doriane Laithier, Elizabeth McAlpine and Matthew Poole.
Rory Macbeth was born in 1965 in Scotland. He lives and works in London.
Left: Thought Bubble (oh god (Nietzche’s Mum (Joke))), 2004, fibreglass; right: Utopia (Kingly Digs), 2006, spraypaint on condemned building
Education 2000 BA Fine Art, Central St. Martin's College of Art, London 1987 MA General Arts (major: Eng. Lit.), University of Edinburgh Solo exhibitions 2004 OKtopia, VTO Gallery, London 2003 Thank You, The Economist Plaza, London Group exhibitions 2006 The Mare's Nest: a History of Provenance, Art
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Now Live, Tate Britain, London 2006 Theatrum Mundi, Northern Gallery for Contemporary Art, Sunderland 2006 Circuit Diagram, Cell Project Space, London 2006 EAST international, The Norwich Gallery, Norwich 2006 Rock Ridge, The Embassy, Edinburgh 2006 Ego-mania, Galleria Civica de Modena, Italy 2006 Bad Moon Rising, K3 Gallery, Zurich 2005 The Difference is Why, with Liam Scully, Laden fur Nichts, Liepzig
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2005 Il Cabo de Cheba, San Servolo Island, V enice 2005 Art out of Place, Norwich Castle Museum and Art Gallery, Norwich 2005 Co-operative Society, Northern Gallery for Contemporary Art, Sunderland 2005 Expanded Painting, Prague Biennale, Karlin Hall, Prague 2005 Campbell's Soup, Glasgow International, GSA, Glasgow 2005 Brit Povera, Galerie Kritzinger, Vienna, Austria
2004 Plaza Suite, Union Gallery, London 2004 Itchy Park, Limehouse Town Hall, London 2004 Kick it Till it Breaks, VTO Gallery, London 2003 Group Shows are a Waste of Time, Hoxton Distillery, London 2002 Magik, VTO Gallery, London 2002 einzweiBriannien, Nylon Gallery, London 2002 Art Crazy Nation, Milton Keynes Gallery, UK 2001 Twenteenth Century, Nylon Gallery, London 2001 Penny Dreadfuls, VTO Gallery, London
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This page clockwise from above: Tree, 2005, cut leaves; Respray (Piaggio/Metalic Pink), 2002-2004, spraypaint, abandoned vehicle; Predictive Text (Libra), (Leo), 2007, horoscopes translated by predictive text and sent by text; facing page: Untitled Arm, 2007, carved marble and jesmonite
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RORY MACBETH
226-229 Marcal
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JOAO MARCAL
Nominated by MAD WOMAN IN THE ATTIC Working on the subject of photographic image but always avoiding the use of photography, João Marçal makes a pertinent and intelligent use of painting and other media. In a time where so many paintings are made after photography, he first denied the superficiality of the visual world by painting the back of photographic paper. A critical thought on the visual empires and its negation is processed by the simple act of representing the other side of an amateur photography. Opposition to this empire can only be expressed through a special relation of intimacy with images. H enriette B inger B arthes, R oland B arthes' m other's name, is the title of the project. In a second project titled "P .S.: I love hue" (after Kid 606's album), João Marçal uses logos from brands which produce and sell photographic material such as films, papers and processing liquids. These logos become an alphabet to create compositions about the identity of the image as a concept or abstract institution. Variations on Fujifilm, Agfa, Kodak, Konica or Ilford produced a new world. Konica's coloured semi-circle became a landscape titled "Why I love life" and a simple rotation of the Fuji logo became a por trait of Mr . Fuji. If there's a por trait, there is a need for a psychological density and soon these visual compositions based on logos came through a humanisation process. Images crying or bleeding recall deceptive narratives were visual elements are the protagonists. All the coldness of his initial compositions made by logos conquer space, life, emotion and critical thought. Marçal's images seem to belong to a parallel universe where the evolution of visual language has reached an "imagine-sapiens-sapiens" (Lat.) level. A special relationship between images, words and their sonority, allows João Marçal to make either unique connections between high and low culture, high and low
Education 2004 Fine Arts (Painting), Faculdade de Belas Artes da Universidade do Porto Solo exhibitions 2006 Estudio 2000, In-Transit, Paulo Mendes’ Project, Oporto 2006 Henriette Binger Barthes, Galeria MCO, Porto 2006 Sob arte, técnica, linguagem e política, PêSSEGOpráSEMANA, Oporto 2005 P.S. I love hue, Galeria 24b, Oeiras 2005 S/ título (UAU), Mad Woman in the Attic, André Sousa’s Project, Oporto 2004 Repetição e Diferença, Salão Olímpico, Oporto 2003 Oll Korrect, PêSSEGOpráSEMANA, Oporto Group exhibitions 2006 Lisboa Arte 2006, Lisboa 2006 Teleférico/ Cais de Embarque, Org: Laboratório
JOAO MARCAL
value. "Gradation" is a colour gradation painted directly onto a stretcher ("grade" in Por tuguese). These paintings recall a recent tradition but also its own limits. Also painted onto a stretcher, the layout of a Kodak-T film box was titled "N oLand", a reference to Kenneth Noland. A real Lacoste crocodile applied on a striped post-minimalist canvas transforms it not only into a Lacoste polo but also into a landscape titled "crocodile tears". Lacoste is a symbol of value but can also challenge the concept of authenticity . This crocodile, known world-wide and faked the world over , was the first logo to be identified on the outside of a shir t. "Maria", the most common female name in Por tugal, lends her name to Marçal's version of the Portuguese flag. A real flag but with its negative colours as if seen in a negative film, this work subverts the power of the flag in its institutional or popular use. Marçal dos Campos is a music project named after Marcel Duchamp. He produces national anthems and covers of pop music. There is always a déjà vu feeling mixed up with a never seen, never heard before sensation in both visual and sound compositions. This is the result of Marçal dos Campos' investigation o n a uthenticity a nd i ts r epresentation. T his project is sited at http://myspace.com/marcaldoscampos. The way João Marçal deals with the history of image brought him to a new project where he offers himself as a "free-lance paradigm". Many others have tried to, but irony and conscience are on his side. Always working at a high risk level, João Marçal is an ar tist I value highly. MAD WOMAN IN THE A TTIC is an art project space in Oporto and is run by André Sousa. João Marçal was born in 1980 in Santarém. He lives in Oporto, Portugal.
das Artes, Guimarães 2006 Opções e Futuros, Collection of PLMJ Foudation, Galeria Arte Comtempo, Lisboa 2005 Prémio de pintura Rothschild, Palácio das Galveias, Lisboa 2005 27 artistas, uma casa a demolir, Laboratório das Artes, Guimarães 2005 16 salas 1 espaço, Laboratório das Artes, Guimarães 2005 GPO31031405, Galeria Pedro Oliveira, Oporto 2005 PêssegopráSemana apresenta, Espaço Maus Hábitos, Oporto 2004 PêssegopráSemana, Galeria Arte Contempo, Lisboa 2004 Uma mão cheia de surpresas, no espaço PêssegopráSemana, Oporto 2004 White Board, Maus Hábitos, Oporto
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VIRGINIE MARNAT LEEMPOELS Nominated by Xavier Douroux
Virginie Marnat’s photographs are anything but family shots. They are not “ar tistically correct” either . Misogyny (though non-existent in the artist) or kitsch (though knowingly avoided in these pictures) are nonetheless present in the to and fro of the perceptive sphere tying them to the viewer . Today’s teenagers will call them “wicked”, while the elders (nurtured with W alter Benjamin) would say they create links between insincerity and non-aesthetics in the era of digital production. Bad news for ar tistic comfor t: we will have to guess with which “evil eye” gaze these pictures look back at us. However, one might see in these series the troubled reflection of this great family the art world has become, its market, its
institutions, the prima donnas, the little workers, the first row spectators, the rags-to-riches chancers. Xavier Douroux is Director of Le Consortium, Dijon, France. It is the people I meet in my photographs who are impor tant. I am obsessed with a number of things: beauty, vanity, rituals, femininity, feminism, loneliness, grace, individuality , myth, to name a few . But I am also fascinated by what each person adds to the general idea even though she or he has to undergo some ritual worked out specifically for each series. What matters understanding each other and exchanging feelings and emotions without the help or hindrance of words. Virginie Marnat Leempoels lives and works in Dijon, France.
Left: Welcome to paradise, 1996, 10 colour photographs, 50 x 50cm; right: All my girlfriends are prostitutes, 1998, 17 colour photographs, 100 x 75cm
Education 1996 Brooks Institute of Photography, California, USA 1994 DNSEP, National School of Arts, Dijon, France Solo exhibitions 2007 Atheneum, Art Center, University of Burgundy, France 2006 Stätna Gallery, Banska Bystrica, Slovakia 2005 N. Niepce Museeum for Photography, Chalon/Saone, France Group exhibitions 2006 Le dix neuf, Art Center, Montbeliard, France 2006 Paris Calling, Great Eastern Hotel, London
VIRGINIE MARNAT LEEMPOELS
2005 Pierogi Gallery, New York 2002 Contemporary Art Center, FRAC Bourgogne, France 2002 I love Dijon, Le Consortium, Dijon, France 2000 Espace Belleville, Paris Residencies 2005 Farpath Foundation, New York 2001-2002 Nicéphore Niepce Museum for Photography 1999-2000 Pépinière Européennes for young artists, Göteborg, Sweden 1995-1996 Los Angeles, USA
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NAME NAME
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Above: Gรถteborg 2000, 2000, 17 colour photographs, 100 x 100cm; right: Cocottes, 2005, 18 black and white photographs, 160 x 110cm
VIRGINIE MARNAT LEEMPOELS
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DEAN MARSH Nominated by Brian Sewell
Dean Marsh is best known and acknowledged as an accomplished painter of por traits, the winner of the National Portrait Gallery’ s First Prize in 2005, bringing to this dutiful genre the analytical eye and technical precision of the enquiring anatomist. Only those not troubled by the truth about themselves, both in the physical immediacy of features and in the depth of character , should dare confront him at his easel, for he is a cold judge of his fellow men, and no woman is safe behind even a battlement of extravagant cosmetics. His portraits are, because of this, both compelling and beautiful. In paintings of things his imagination is let loose. He makes strange sculptures that seem both animal and mineral, both mineral and human, and then paints them as objects of still life. They are surreal, not in the wilful conventions of Surrea lism, but in that they reach beyond reality yet still remain connected
to it. He dunks spiders in white plaster and makes paintings of the consequent sculptural realities; he gathers the skulls of small wild animals, the bodies of exhauste d bees, the wings of game birds, and even the empty carapace of a stag beetle broken by a rook is meat to his imagination. And, like Adam Elsheimer , with the finest sable brushes, he paints minutely on plates of copper . I have on my desk his painting of an oyster shell, perhaps half as large again as lifesize – there is always a significant change of some kind between the painted object and the painting – a thing of extraordinary observation to remind me that the true ar tist is infinitely the superior of the critic. Brian Sewell is an art critic based in London. Dean Marsh lives and works in London.
Exhibitions 2005 BP Portrait Award, National Portrait Gallery, London: First Prize 2004 The Figure And The Face, Orleans House Gallery, London 2003 BP Portrait Award, National Portrait Gallery, London: Fourth Prize
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Above: Dollyâ&#x20AC;&#x2122;s Head, 2006, oil on copper, 30 x 20cm; left: Little Head, 2006, oil on copper, 20 x 25cm
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Above: Angelica, 2006, oil on copper, 29 x 45cm; left: Spider, 2006, oil on copper, 25 x 20cm
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LYNNE MARSH Nominated by PoCA
Current high-end digital imaging te chnologies are deployed in contemporary cinema, gaming and television to call up mythical phenomena from th e past we can no longer find in any convincing actuality in the present: monstrous creatures of hybrid, paranormal or superhuman nature; strange lands which remain uncharted; distortions of time and space unavailable in the ordered (if deregulated) measure of urban life. But perhaps above all, such technologies have returned us that most modernist of myths which has dominated the political sensibility of industrialis m, the city, and the revolutions which have more or less defined the political imaginary of the last 150 years: the mass. Usually, the fabulations of current cinema and television deploy digital imaging technologies to present an (often sorry) amalgam of these formations: fantastical hordes of warriors or creatures from strange lands swarming to vanquish a few hardy individuals who form the narrative centre. W e know how these scenes go. But we do not know what their fusion of archaic, premodern and modernist and post-industrial fantasms in fact amounts to other than another evening of clunky entertainment. Lynne Marsh isolates these current fetishes of narrative image production and subjects them to a forensic examination, not in
order to demonstrate their evident fabrication or to expose their mythic status in favour of some supposed rational understanding. Rather, Marsh deracinates these characters – creatures, human-like ciphers, landscapes – recharging and enervating them in their own terms. W e are brought into an immediate, often viscerally heightened encounter with them in their own right, unsubjugated to their standard narrative obligations but opened up and out to another kind of fulfillment which draws attention to their own character . In Marsh's work, these now standard tropes of digital imaging technologies are close to personified, becoming subjects for viewing rather than stage objects. The invitation sent by Marsh's work is for the (dis)comfor t of your identification with and empathy for what is without human expression and, at once, in its digital construction, entirely concocted by a wholly mediated fabrication, and so extra-human in that sense too. PoCA (Political Currency of Art ) is a research group based at Goldsmiths College, London. Lynne Marsh was born in 1969 in Canada. She lives and works in Montréal and London.
Left: NightLife, 2004, installation view at the Museum of Garden History, London, audio and light installation, automated spot lights, CD playing opening chords to Michael Jackson’s Thriller, lighting desk, 6’00” loop. Photograph by Uta Kogelsberger; right: Crater, 2005, installation view at the Cinémathèque québécoise, Montréal, 3-channel video projected panoramic installation, 3 curved screens, surround sound and fuchsia lights, diameter 16’. Photograph by Adrian Buitenheis
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Education 1998 MFA, Goldsmiths College, University of London 1992 BA Fine Art, Concordia University, Montréal Solo exhibitions 2007 Stadium, Künstlerhaus Bethanien, Berlin 2007 Ballroom, Video Pool, Winnipeg 2006 Volcano, Platform, London 2005 Crater, Cinémathèque québécoise, Montréal 2002 Screeners, Prema Arts Centre, Gloucestershire, UK 2000 Venus... I see blue, Oboro Gallery, Montréal 1998 New Digital Work - Video Wall Commission, Levi Strauss Store, London 1998 Venus... I see blue, 291 Gallery, London 1995 Out of Character, YYZ Artists’ Outlet, Toronto and The New Gallery, Calgary 1995 Annie Get Your Gun, Galerie B-312, Montréal and Artspeak Gallery, Vancouver
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Group exhibitions 2006 Next Level, Kunstverein Wolfsburg, Germany 2005 London Movies, Palais de Beaux Arts, Brussels 2005 Dislocate, Hit Gallery, Bratislava, Slovakia, and Globe Gallery, Newcastle 2005 Video Unplugged, Galleri S.E, Bergen 2004 Hulagirl, Waygood Gallery, Newcastle 2004 The Sneeze 80x80, Gazon Rouge Gallery, Athens 2004 Transmogrifications, Danielle Arnaud contemporary art, London 2003 Family Business, PM Gallery and House, London 2003 Taking Speed, 1 000 000mph Gallery, London 2003 Festival International Cinema Nouvelle Generation, Lyon 2003 Exhumed, The Museum of Garden History, London 2003 New Territories International Festival of Live Art, Glasgow
2001 landescape, Mercer Union Gallery and iMAGES Festival, Toronto 2000 Sodium Blindness, APT Gallery, London 2000 Problems of Everyday Life, Bluecoat Gallery, Liverpool 1998 Close Encounters, The Ottawa Art Gallery 1996 Women Look at Guns, SF Camerawork, San Francisco 1996 In Our Sights: Artists Look at Guns, California Museum of Photography, Riverside Residencies and awards 2006 International Studio Programme, Künstlerhaus Bethanien, Berlin 2006 Arts Council England 2005 Canada Council for the Arts 2004 Arts and Humanities Research Council UK 2003 Conseil des arts et des lettres du Québec 2003 The Banff Centre for the Arts, Canada
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Above: Volcano, 2006, video still, double-sided video projection with sound, curved screen 223 x 170 cm, 5’30” loop; right: Stadium – first cut, video stills, HD projection with sound, 10’
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STUART MAYES Nominated by David Barrett
Stuart Mayes’ body of sculptural works has grown out of his long-term performance-ar t practice. Often incorporating traditional, practical craftwork – such as sewing – Mayes’ sculptures explore notions of masculinity through a domestic vocabulary that relies on memories of old-fashioned suburban values. While the range of Mayes’ subjects takes in bawdiness, tragedy, and sentimentality, each is handled with a rigorously controlled aesthetic of terrifying restraint. Perhaps the true subject of Mayes’ work is precisely this maddening British quality: phlegmatic restraint in the face of necessary, turbulent emotions. David Barrett is an artist and critic. Stuart Mayes was born in UK. He lives and works in London.
Left: Exchange (detail), 2004, second-hand business shirt, thread; right (clockwise from top left): Untitled (Hidden Glory), 2006, installation with spy hole, light bulbs; 5 and 7, 2002, two schools shirts, thread; Untitled (Multiple), 2006, man’s handkerchief, embroidery silk; Enchanted, 2002, wooden chair, green wood; Collection, 2004, installation with museum cabinet and loaned objects; Grandfather’s Flower Garden, 2003, two second-hand business shirts, thread
Education MA Fine Art Media, Slade School of Fine Art, University College London BA (Hons), Art & Social Context, Dartington College of Arts, Totnes, Devon Group exhibitions 2006 Signals 4, Crystal Palace, London 2005 Studio Work, Parfitt Gallery, Croydon College, Surrey 2004 Six Thousand Chairs, Crystal Palace Park, London 2004 It’s Surreal, Stroud House Gallery, Stroud, Gloucester 2003 Signal, Antenna Gallery, Crystal Palace, London 2003 Mirror to Nature, Seven Seven at Mile End Art
STUART MAYES
Pavilion, London 2002 Changing Rooms, Sherborne House, Sherborne, Dorset 2002 Domestically Spaced, Space Station Sixty-Five, East Dulwich, London 2002 Inside Out, MoDA, Middlesex University, London 2001 Giant, Unit 16, Three Mills Island, London 2001 Guide, St Mary’s Church, Bow Road, London 2001 Frozen Progress, Royal Geographic Society, London 2000 Souvenir, Belt, Bethnal Green, London Commissions 2004 Arts Council England – Collection for Six Thousand Chairs
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Grandfatherâ&#x20AC;&#x2122;s Flower Garden (detail), 2003, two second-hand business shirts, thread
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PHILIP NEWCOMBE Nominated by Marc Camille Chaimowicz
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SEAMUS NOLAN Nominated by Jacinta Lynch
I have nominated Seamus N olan for his current work, Hotel Ballymun commissioned by curator Aisling Prior of Breaking Ground. This is an exciting project that deconstructs social and political issues, in the form of a soon to be demolished tower block, as part of Dublin’s inner city regeneration programme. The top floor of the tower block will be conver ted into a shor t stay hotel during April and May 2007, reusing and recycling discarded materials from the previous tenants of the building. The project touches on many areas of contemporary interest, as the ar tist actively engages simultaneously with ideas around the notion of Utopias and directly with community organisations, adopting a developmental approach to his practice, which in this case involves a large scale sculptural performance over time. The nature of N olan’ s work does not easily lend itself to gallery representation in a commercial setting and invariably operates through a wider platform of public commissions and awards, for this reason I believe his work merits inclusion in the PILOT: Archive. Jacinta L ynch is Director of Broadstone Studios Ltd, Dublin.
My practice investigates the relative value of objects and social processes as they appear within different economies and contexts. In my w ork, I t ry t o u nravel t he c ommonplace, t o recognise the inherent structure or code from which we, as social and political animals construct and deconstruct the world around us. My work is concerned with power relations, e nergy and possibility, and I am interested in reconfiguring the everyday as a means to examine or question the purveyors of meaning. My interest in active community organisations has led me to work with a nd t alk t o a m ultitude o f i ndividuals a nd groups i n t he Ballymun a rea. A d evelopmental m ode o f p ractice, o f o pen engagement with the community has incorporated a number of children’s projects and the setting up of a local bicycle lobbying campaign. Hotel Ballymun is a large scale sculptural performance, resulting out of this period of research. The work operates in conjunction with local community groups, and invites both a national and international audience to interact on a very personal l evel w ith t his l ocal ac tivity, w ith t he p iece a nd m ost importantly, with the context of its presentation, Ballymun. Seamus N olan was born in 1978 in Kilkenny , Ireland. He lives and works in Dublin.
Left: Hotel Ballymun, 2007; facing page, clockwise from top left: Hotel Ballymun, 2007, Wardrobe and Wash Hand Basin, Clock Chair, Double Room, Wardrobe. Photographs by Pat Redmond, courtesy of Breaking Ground and the artist
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Education 2004 BA Fine Art Sculpture, National College of Art and Design, Dublin Group Exhibitions 2007 Agorafolly, Europalia, Ireland 2006 EV+A 2005 Communism, Project art space, Dublin 2005 Artcirq / Seamus Nolan, Project art space, Dublin 2004 Signal Arts Centre, Bray 2003 Intermedia, Project art space, Dublin 2003 Signal Arts Centre, Bray
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2003 City Art Centre, Dublin 2002 Intermedia, Triskel, Cork 2002 Signal Arts Centre, Bray 2002-2003 Dublin Fringe Festival Reidencies and awards 2005-2007 Breaking Ground commission 2006 Arts Council bursary Independent Artists’ Studios, Temple Bar, Dublin Irish Museum of Modern Art Wexford County Council’s inaugural Emerging Visual Artist Award
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Artcirq, 2005, steel and wood with canopy, Project Art Centre, Dublin. A new stall was constructed in the gallery and situated on Moore Street, while the original stall was removed from Moore Street and installed in the Projectâ&#x20AC;&#x2122;s gallery space
In the gallery space, the twenty foot stall was re-assembled and exhibited whilst operating as a seating structure from which to view the Artcirq film
Screened in the gallery space, Artcirq follows a project initiated by Guillaume Saladin which took place in Igloolik, a remote inuit settlement in the Canadian Arctic
Constructed from welbed box tubeing and waterproof plywood, this stall was built in the project space and then re-assembled on Moore Street where it still stands and operates in place of the original exhibited stall
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Bandstand, 2006, EV+A, victorian bandstand built on-site from 30 discarded pallets sourced around Limerick city. After the show finished, the buildingâ&#x20AC;&#x2122;s porter Billy and his friend dismantled and burnt the piece
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VANESSA O REILLY Nominated by Alan Phelan
Vanessa O’Reilly is an ar tist whose work is difficult to pigeonhole and sometimes even describe. Her work is often rooted with sound, expanding across a variety of media and installation possibilities to investigate complex systems of thinking somewhere between politics, economics, film, television and ar t. O’Reilly’ s practice presents the audience with impor tant challenges in interpretation, offering at once visual and aural conundrums that are rooted in specific sites but connected to larger and more dynamic discussions and scenarios. Alan Phelan is a visual artist from Dublin, Ireland.
Vanessa O’Reilly lives and works between Ireland and London.
Left: Premises (Fuck You I’m Dying), 2002, graphite wall drawing approx. 250 x 300cm, lights, coloured gels, from a series of wall drawings and light installations titled Premises, Eurojet Futures, RHA Gallery, Dublin/MILCH Gallery London; right: Feux d’artifice, 2004, installation/performance with sound (vocal mimicry of a fireworks display), light and coloured gel
Education 1996 MA Fine Art, Chelsea College of Art & Design, London 1995 BA Fine Art, Limerick College of Art & Design Solo exhibitions 2006 Sees/Seas/Seize, Irish Museum of Modern Art, Dublin 2006 Swarm, Pallas Heights, Dublin 2002 Premises, Milch Gallery, London Group exhibitions 2007 OH!, The Arts Project Network, ·kuc Gallery, Ljubljana 2006 V22: ON, Clerkenwell, London 2006 The Square Root of Drawing, Temple Bar Gallery, Dublin 2006 Tipperary Exposed, The Source Arts Centre, Thurles, Co. Tipperary, Ireland 2006 Multiplicity, The Market House, Monaghan 2005 Multiplicity, Context Gallery, Derry and Roscommon Arts Centre, Roscommon
VANESSA O REILLY
2004 Free from the Itch of Desire, The Butler Gallery , Kilkenny, & Temple Bar Gallery, Dublin 2004 NoRespect, Dublin, curated by Alan Phelan and Jane Speller 2004 Art Conference, Dublin Castle, Dublin 2004 Multiplicity, Fota House, Cork, Ireland 2004 EV+A, Imagine, Limerick, curated by Zdenka Badovinac 2003 The Bienal de La Habana, Cuba 2003 Gasworks International Residency, Gasworks, London 2003 Braziers International, Oxford, England and Studio 1.1 Gallery, London 2003 The National Gallery, Goethe Institute, Dublin 2002-2005 Eurojet Futures, Royal Hibernian Academy, Dublin 2002 Claremorris Open, Ireland, curated by Iwona Blazwick 2002 EV+A Heroes & Holies, curated by Apinan Poshyananda
2002 Cluster, Dublin, curated by Katie Holten 2002 Camouflage, mudac, Lausanne, Switzerland 2001 EV+A Expanded, curated by Salah M. Hassan 2001 Incorporate 4, Arts & Business, London 2001 Future Perfect, Adam Street, London (curated & exhibited) 2001 A Project, Milch Gallery, London 2000 Big Torino - Turin Biennale, Turin, Italy, curated by Robert Fleck, Chantal Prod’Hom and Mik Flood 2000 Gasterbeiter, 2YK, The Kunstfabrik, Berlin, curated by Lisa Panting 1999 Victor Treacy Awards, Kilkenny, Ireland 1999 WUNDERKAMMER, London 1999 Cathedral, BoBo's Gallery, London, curated by Michael Wilson 1998 Drawing upon Drawing, Studio 9, London, curated by Paul Gray / Riccione Film Festival, Italy 1997 Sesso Degli Angeli, Volterra, Italy / Lille 3rd. International Film Festival, Lille, France 1995 Outpost, Venice Biennale
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Left: Swarm, 2006, rope light drawing – installation in an abandoned apartment block before demolition, Pallas Heights, Dublin; right: Untitled Twice, 2006, cut mirror, Irish Museum of Modern Art, Dublin, Ireland; below: <Eddy>, 2003, 4 video stills, DVD PAL approx. 36’, single channel, shot in the Necrópolis Cristóbal Colón, Havana, Cuba, Gasworks, London
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ADAM PAGE & EVA HERTZSCH Nominated by Inventory
Embassy of worried citizens Ballhausplatz, Vienna 2000-02
“...the protest camp - in an illegally erected prefab hut - was removed by police in the early hours under the pretence that nobody owned it. Unperturbed, the protesters knocked up a wooden hut and symbolically reopened their “embassy” at 18:00. 50 policemen regrouped and intervened at 21:45, carrying the wooden hut away...”
Report on “Mission Security” at the Conference of German Interior Ministers, February 1998 “A vital ingredient of Kanther ’s security concept is that traffic wardens, police, security guards, social workers, immigration officers and pub owners all work together.”
Die Presse, 25th April, Vienna, 2002
“Schloss-Grill” Schlossstrasse Dresden 2000
«City-InfoBoogie-Woogie» curated by Christiane Mennicke Postplatz, 2002
Süddeutsche Zeitung, 10.03.1998
Eva Hertzsch (1965, Esslingen, D) & Adam Page (1966, Bedford, GB), 0049 173 2009608 page-hertzsch@gmx.de, Stavanger Str. 15b, 10439 Berlin, www.infooffspring.de 1997 documenta X Kassel (Page), 2000 Real (Work) 4th Werkleitz Biennale, 2001 Der Dritte Sektor Kunstverein Wolfsburg / GfZK Leipzig, 2002 Fiets&Stal Stroom, The Hague, 2003 World Watchers NGBK Berlin / Kunsthaus Dresden, 2004 Villa Massimo Scholarship Rome, 2006 Wild Capital Kunsthaus Dresden, 2006 Glanz & Globalisierung Hartware, Dortumd
Market Research CONSERVATIVES DEMAND “SPRING CLEAN” Kiosks banned from Palace vicinity!
At a moment when the art market elite looks to the latest in a line of French philosophers to suppress its anxious acknowledgement of its irrelevance, there has been, for some time now in Germany, groups of artist / activists and exhibition organisers who have striven to create works, events etc. within local communities which raise issues and autonomously defend an idea of shared creativity and public space that openly resists the neo-liberal propaganda that is sweeping across Europe. For Inventory, the work of Adam Page and Eva Hertzsch represents an important part of this orientation towards a truly democratic and critical art practice that is not in the least concerned with labels such as “relational” or “socially-engaged”, but attempts to make something happen through collaboration, modest resources and a great deal of energy . However, there is nothing “utopian” about this endeavour, it is merely an honest attempt to contribute to a wider movement for creative, social and political change. Therefore, for Inventory, it is a creative practice that undoubtedly offers a more ambitious and more life affirming idea of what we can do and what we can be; presenting a challenge and an antidote to the predictable egotism one has the misfortune to routinely encounter, as for example, within the corrupt and decaying pavilions of the Venice Biennale. Inventory, March 2007 ADAM PAGE & EVA HERTZSCH
«Velocity of Circulation» DRESDENPostplatz, 2003
„Everybody's welcome here, whatever nationality, rich or poor, smart or scruffy, anybody ing to evening, as long as there are people on the streets... we naively thought we could use establish a small business on the main pedestrian zone on Prager Str. - how wrong we were of an economic war and the Council won and forced us out of business. We were running glass pavillion with a small area for street theatre and everyone knew that this street had against the DDR in Dresden and local people were used to meeting on Prager Strasse and But the Council sold the whole street to corporate investors to build department stores and they used force to remove our kiosks... they completely trashed mine, cutting the roof of f up my furniture. And we believed what they said about setting up small businesses and tried to ruin me for life.” From a spontaneous speech by Herr Görlich, owner of a snack bar opposite info of fspring Christoph Schäfer opening on Postplatz 2002
Repositioning of a kiosk, Prager Str. 1992
Closure of a kiosk by police, Prager Str.
Summer 2002+03 Kerstin
Summer 2001 Neli + Annett
Summer 2001 Mario
Unemployed
Students
Job Scheme
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«Velocity of Circulation» curated by Heike Ehrlich and Stephan Geene, DRESDENPostplatz, 2003
R&D OWNER
PLAN
JOB LOT
DATE
DINH THO TRAN
GROUND PLAN
ASIA SNACK STAND 14.03.2000 STREHLENER STR.
Untitled (ground plans of snack stands) Eva Hertzsch & Adam Page, 1999
SUPPORT GERMANY’S KIOSK CULTURE !
Strategy 26.01.2000 Kulturstiftung des Freistaates Sachsen DM 20,000
Strategy who is hungry, from mornour local knowledge and - we were on the front line a café on Prager Strasse in a been the centre of protests articulating themselves here. us locals were in the way, so with a grinder and smashing being self employed. They
Location 1 20.12.2000 Public Art Board, Kulturamt Dresden DM 14,364
Capital 04.06.1998 Public Art Board Kulturamt DM 40,000
Presentation to the Public Art Board at the Kulturamt Dresden, 04.06.1998
15.01.2001 Kulturamt Dresden DM 3,000
Information can easily be pinned onto the pink foam board walls
after the Margit Czenki and
The kiosk doubles in size at the press of a button. Inside are exhibitions, book shelfs, videos, internet & magazines with information on alternative uses of public space in cities
Summer 2000 “City-Index” exhibition DM 6,000
14.02.2001 Saxonian Ministry for Science & Art DM 12,000
You can receive informnation through the front window
Info Offspring
Demolition of Herr Görlich’s «Green Pavillion», 1993
Summer 2004+06 Denise + Kristina
Summer 2001 Sylvia
Summer 2006 Silke + Sonia
Summer 2000 Peter + Anke
Students
Unemployed
Cash in Hand
Job Scheme
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Personel ADAM PAGE & EVA HERTZSCH
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«Datensammler 7 Töne» by Tjark Ihmels former post office, Königsbrücker Strasse, «Info Offspring featuring...», curated by Susanne Altmann, 2001
Pretty Ugly Art Kiosk „The kiosk is purposely ugly and of fers an alternative look at the city's image. The pink thing will be removed at the end of October and mothballed until next Spring.“ Sächsische Zeitung, 20.10.2000
Press <<... Now why would anyone want to install a kiosk again in such a prominent place as Altmarkt? The planning office and a lot of other Dresdners thought they had finally seen the back of the Wende's legacy of wild huts and stands....>>
Location 2 www.infooffspring.de
From «A kiosk is a kiosk, a kiosk?», Dresdner Neueste Nachrichten, 12.10.2000
The info offspring kiosk offers the general public a platform in the city of Dresden to discuss alternative ways of using and thinking about public space. The role of kiosks as multifunctional, been to transfer information - politics, entertainment and propaganda - and to be a link to world for 2002, „City-Info-Boogie-Woogie“, will continue this tradition. In a programme blocks, artists, will be invited to present their ideas on town planning, architecture and city life. Christiane Mennicke, curator, from an application to Stiftung Kunstfonds Bonn, 2002. Info Offspring Kiosk on Altmarkt, Eva Hertzsch and Adam Page for the public art exhibition «City Index», Dresden, 2000
Location 3
«Public Living Room» by Jelka Plate and guests, Postplatz «City-Info-Boogie-Woogie», 2002
«There's going to be a pink kiosk installed on Prager Strasse. What's the world coming to? Don't worry , it's only public art.«
City Magazine Dresden 3/2001, published by City Management Dresden.
20.03.2002 Kulturamt Dresden EUR 2,500 11.02.2002 Saxonian Ministry for Science & Art EUR 8,200
ADAM PAGE & EVA HERTZSCH
«défilement de mode 0.3.» by Jérome Chazeix, Prohlis Estate «City-Info-Boogie-Woogie», 2002
18.01.2002 Public Art Board Kulturamt Dresden EUR 5,000 01.02.2002 Stiftung Kunstfonds e.V. EUR 6,000
«SonicSchnellpressenfabrik» by Inventory, Prohlis Estate, «City-Info-Boogie-Woogie» 2002
12.01.2003 Kulturstiftung des Bundes EUR 40,000 as part of the project «DRESDENPostplatz. I had just reached the point in my thoughts when, without any warning, spring suddenly entered the world», May-Oct. 2003
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261 “Not For Sale” exhibtion Heimatmuseum, «FOR SALE», 2006
Discussion on demolition & tenants rights, with L38Squat (Rome), local squatters, local Tenants Assoc. etc, «FOR SALE» 2006
Initiative Rundkino_Revisited, Prager Str. «COMPETE», curated by Eva Hertzsch & Adam Page, 2004
18.01.2004 Kulturamt Dresden EUR 3,500 14.02.2004 Saxonian Ministry for Science & Art EUR 3,500 02.04.2004 Kulturstiftung Dresden der Dresdner Bank EUR 10,000 a
“I hate the child fuckers here”
“Free portrait for an interview” by Adam Page, «FOR SALE», Dresden-Prohlis, 2005-2006
Location 6 town planning, public art and minimal architecture has always issues. The info offspring project artist groups, activists and projects
<<FOR SALE>> Projects by residents and artists on the Prohlis Highrise Estate. Info Offspring Kiosk in collaboration with Heimatmuseum Prohlis. 14th May - 1st October 2006. Funded by Kulturstiftung des Bundes. Set in the context of the sale of the Council's housing association (47,000 flats, including 7,000 in Prohlis) to the American Investment Group “Fortress”, the <<FOR SALE>> project opened a dialogue with residents about their relationship to their social, economical and c ultural surroundings. The dialogue was based on an open exchange of information and experience between cultural practitioners and residents. Complementing five „Case Study“ presentations by artists running projects on similar estates in Europe, residents reported about tenants' rights, demolition, job schemes and self organisation in Prohlis. Three new works were realised by artists from Paris, Hamburg and Berlin working with 30 local people. Two resident projects - a job application DVD and an allotment for kids - were supported logistically and financially. Over 50 residents worked on the final exhibition in the local Heimatmuseum, “Not For Sale”, presenting local people, their meeting places and their projects in a large walk-through model of the estate made from disguarded furniture.
Synergy
Location 5
16.11.2005 Kulturstiftung des Bundes EUR 48,900 Museen der Stadt EUR 6,000 Kulturamt EUR 1,500
Location 7 «FOR SALE» Projects by residents and artists on the Prohlis Highrise Estate, curated by Eva Hertzsch and Adam Page, 2006
Location 4
Location 6
“Estimating a social value for Prohlis” by Page & Hertzsch, 2005 for “Wild Capital” workshop, Kunsthaus Dresden. 10 artists and curators acting as American investors were guided round Prohlis by cellphone and asked to value social activities on the estate. Their evaluation was ironically added to the estate’s sale price.
“IDEE 01239 - Neighbourhood Forum” Many of the founder members of the recently formed „IDEE 01239“ residents association in Prohlis are unemployed. In order to avoid the isolation of unemployment, they are working with fellow residents, artists and academics to create a „Neighbour hood Forum“ offering a programme of cultural events on the estate. „IDEE 01239“ intends to continue the work begun by the <<FOR SALE>> art project in 2006 and combine local people's committment with professional cultural practice. By seeing residents' experience as having cultural and educational value relevant to society , „IDEE 01239“ hopes to reduce social gaps, feelings of inferiority and prejudgements on and about the estate. Residents Association “IDEE 01239 e.V.”, Prohlis, December 2006
Founder members of the residents’ association IDEE 01239, Prohlis, Dec 2006
This layout was first published in «Produktionsumgebungen - Präsentationsoberflächen», infection manifesto no.5 12/2004. Here w ith updates. ©Adam Page & Eva Hertzsch
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ANNAPAOLA PASSARINI Nominated by Angela Vettese
Annapaola Passarini has focused her personal artistic research on human experience, sometimes in a solitary, almost silent way, some o ther t imes i n g roup, i nvestigated t hrough o ther p eople lives. This approach leads to a modus operandi that is both poetic and s trongly co nnected t o s ociety, e ver c hanging b ut a lways deeply rooted in its fundamental elements. Following her silent and solitary approach, the ar tist searched through every Venetian Calle, none excluded, looking for the constructions sites where the city restores and renews itself: the result of this work is a printed map, a copy of the one where the artist daily marked the process of her experience as in an ancient fresco. The city was once again the focus of a collective oeuvre, that consisted in gathering Neapolitan proverbs and then printing a sort of ‘nonhand-book’, a collection of those unwritten rules that guide ones life and shape local ethic. Labour is the core of her research at the Ratti silk factory in Como, where old glories, habits and certainties are called into question by the current economic crisis. One of her works in Como narrates the survival of professional ethic and a former worker’s affection to his work place: he’s now the keeper of that same factory in which he has spent his entire life, even t hough the building has now been dismissed and
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turned i nto a c entre f or c ontemporary a rt. P laces a nd p eople seem t o h ave a l onger m emory t han w hat w e c an t ell j ust b y looking at them. Annapaola Passarini tries to interpret this reality in a p recious a nd n on-dogmatic b alance h anging b etween accusation and nostalgia. Angela V ettese is Director of Bevilacqua La Masa Foundation, Venice, Italy. Labour, W ork, Action: These three fundamental human activities, as described in Arendt’s Vita Activa, are components of a thread I tried to follow i n a series of interventions. Some of them are narrations of working and living conditions, some are utopian proposals (providing a guided tour for workers during their working hours guaranteeing the same salary), some others are attempts to create a history through active participation of its protagonists. Still, I feel the urgency of an unsolved question. A society of labourers, which is about to be liberated from the fetters of Labour, will be able to survive to the effects of uncer tainty? Annapaola Passarini was born in 1974 in V erona, Italy . She lives and works in Venice, Italy.
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Left: Tra le righe, 2004, book with audio CD, front cover and sample pages; above: Lavoratori culturali, 2005, invitation to guided tour
Education 2005 MA Visual Arts, Facoltà di Design e Arti (IUAV), Venice 2000 BA Painting, Academy of Fine Arts, Verona Group exhibitions 2007 Laws of relativity, curated by Anna Colin and Elena Sorokina, Fondazione Sandretto Re Rebaudengo, Guarene 2007 Gemine Muse, Comune di Padova, Padua 2007 Il Grande Disegno, curated by Elisa Gusella, Fabbrica Borroni, Bollate, Milan 2006 90.Collettiva Giovani, Fondazione Bevilacqua La Masa, Venice 2006 Tracce di un seminario, curated by Roberto Pinto and Anna Daneri, Assab One, Milan 2005 XII Biennal of Young Artists from Europe and Mediterranean Area, Naples 2005 Aesthetic of Resistance, Ex-Ticosa-Fondazione Ratti, Como, Italy 2005 Sound Art Museum, Rome 2004 Nomads+Residents’ Traveling Magazine Table, Art in General, New York, and CAVS (MIT),
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Cambridge, Massachusetts, USA 2004 Transmission, urban interventions, curated by Progetto Zero+, Bassano del Grappa 2004 Qualsiasi (TV), a telestreet, project by Rirkrit Tiravanija, Base, Florence 2004 2’50”, urban intervention, Bergamo 2004 GuardarsIntorno, urban interventions, Venice 2003 Talk Show, Dialoghi in mostra, curated by Hans Ulrich Obrist and Stefano Boeri, V iafarini, Milan 2003 Recycling the Future/VV2, curated by Angela Vettese, Venice Biennal 2003 Prove d’ascolto, Galleria Civica di Arte Contemporanea, Trento 2000 Preview, video screenings curated by Flavia Pelosi, Castel S.Pietro Terme Residencies 2005 Residence at Fondazione Antonio Ratti, Como, Italy 2004 Grant and residence at NYU, New York 2003 Real Presence 3, Artists’ residence in Belgrade, Serbia and Montenegro
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Above and facing page: Flessibilità negativa, 2006, slides with audio (selection of three), 6’40’’; below: L’angelo custode, 2007, series of slides
ANNAPAOLA PASSARINI
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MICHAEL PFROMMER
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Nominated by Nikola Dietrich
Michael Pfrommer’s drawings adhere to one's consciousness like having sat on a piece of chewing gum in a bus – you can‘t help but take a little un-extractable piece with you. Nikola Dietrich is Head Curator at Portikus, Frankfurt.
Michael Pfrommer was born in Leonberg, Germany, in 1972. He lives in Frankfurt am Main, Germany.
Salad Days, 10 Drawings: left: 01, 2006, permanent marker on paper (car ta argentina), colored for magazine print; right: 02, 2007, permanent marker on paper (US letter); next pages: 03, 2007, permanent marker on paper (US letter); 04, 2007, permanent marker on paper (US letter); 05, 2007, water color on paper (german letter A4), black and white for magazine print; 06, 2007, permanent marker on paper (US letter); 07, 2006, permanent marker on paper (german letter A4); 08, 2007, ink on paper (17 x 24cm); 09, 2007, permanent marker on paper (US letter); 10, 2007, permanent marker on paper (US letter)
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03
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MICHAEL PFROMMER
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KARINE PRADIER Nominated by PILOT:
If Karine Pradier’s drawings are photo-realistic, they are only so in ability and skill. Realistic, they are not, which also voids the idea of them being photo-anything. Rather, Karine Pradier is already in the space of interpretation one might find oneself in while encountering a set of pictures. Although, we can imagine all her source material is photographic to star t with, I’d be hard put to say where the
distortions happen, and I like to think of Karine as the fairy , pixie, monster (delete as appropriate) inside an imaginary lens, already invading the viewer’s psyche, both taunting him into giving in to his thoughts and chimeras, and confronting him with what he was trying not to see. The PILOT : committee this year includes Colin Guillemet, Doriane Laithier, Elizabeth McAlpine and Matthew Poole.
Education 2000 MA printmaking, Camberwell College of Art, the London Institute, London 1998 BA Middlessex University, London Solo exhibitions 2006 Tirages, The Park Lane, London 2004 Twin daughter, Case-1 Gallery, London 2003 What ever the story, Studio Voltaire, London 2002 L’enfance sur le fil, Galerie Bertin-Toublanc, Paris Group exhibitions 2007 Sheraton Belgravia, London 2006 A-21 Exhibition, Osaka, Japan 2006 Pêche à la ligne, Loguivy de la Mer , France 2006 Jeune Création, Paris 2005 Elles sont passées par ici – Here nor there, Loguivy de la Mer, France 2005 Drawing the line, Orleans House Gallery, London 2005 30th Bradley International (drawing biennale), Peoria, Illinois, USA 2004 Sefton Open, Southport 2004 Summer exhibition, Case-1 Gallery, London 2004 A-21 Exhibition, Osaka, Japan 2004 Salon Europeen d’Art Contemporain de Montrouge, Paris 2004 Claustrophobia open, Surface Gallery, Nottingham, UK 2004 Love in Art, Arndean Gallery, London 2004 The figure and the Face, Orleans House Gallery, London 2003 The drawing show, the jelly leg’d chicken art gallery, Reading, UK 2003 Common fields, Florence Trust, London 2003 100, Studio Voltaire, London 2002 Pourquoi pas chez toi? Galerie Bertin-Toublanc, Paris 2001 The National Print Exhibition, Mall Galleries, London (and in 1999) 2000 12/2000, RKBurt Gallery, London 2000 Misplaced, Trinity Gallery, Kent, UK 2000 17/2000, Camberwell College of Arts, London 2000 5th Open Print Exhibition, Royal West of England Academy, Bristol, UK 2000 The Ring, a South London Gallery Project. Assistant of Thomas Kilpper 1998 New Arrivals, Royal Society of Arts, London, UK 1997 The Stroke Association’s exhibition, Royal Festival Hall, London 1997 Back to the Future, National Gallery, London
KARINE PRADIER
1997 150 years of Heatherley, Mall Galleries, London Awards 2005 Special distinction at the Bradley drawing biennale, US 2000 Marlborough Graphics Gallery prize 1996 Heatherley School of Fine Art, first prize Curator and publisher 2007 Fils de… (Son of…), Plouec du Trieux, France 2006 Pêche à la ligne, Loguivy de la Mer , France 2005 Elles sont passées par ici – Here nor there, Loguivy de la Mer, France
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I divide my work in two completely different parts which are at this stage equally important to me. The first one is the practice of drawing as basic as it might sound. Having experimented with print and installation, Iâ&#x20AC;&#x2122;ve returned to a work that by its nature connects me ever more intimately with the subject and the viewer (be a grotesquely distor ted child face or an illusory landscape). Through successive manipulations of drawings of photographs of drawings etc combined with a certain technical drawing ability, I question media and perception.
The other area of investigation turns out to be thematic dialogues. As I star ted to act as a curator three years ago I soon developed an interest in interviewing fellow artists as an attempt to understand my own practice better. It has turned into an ongoing series of written pieces, each of them addressing a par ticular issue eg. how can academically educated artists possibly feel they belong to outsider ar t? Karine Pradier was born in 1969 in Nice, France. She lives and works in London.
Above: Disturbed playground, 2007, graphite on paper, 30 x 45cm; far left: Lov picture, 2005, graphite on paper, 30 x 18cm
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Above: Narcissism 1, 2006-07, graphite on paper, 60 x 80cm; right: Narcissism 2, 2006-07, graphite on paper, 60 x 80cm
KARINE PRADIER
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LAURE PROUVOST Nominated by Colin Guillemet
Don’t believe a word she says. She’ll be lying. Laure makes videos like people keep diaries of their confessions, desires and deep personal thoughts relating to events they have either witnessed or experienced. Her works look authentically home-made, still shots of a garden, street corner…etc, with a whispered voice over , intimating the viewer into her very own space. Once the trust is established, the ride will be surreal. The more you are immersed in this device, the more this young woman opening her hear t and mind turns into a deluded fool, a disturbed mind, and a very good artist pulling the viewer’ s leg for her own kicks. Her absurd tales and improbable stories are in turn moving, discomforting and
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frankly hilarious (watch her with her dog in the park, or the beautiful cake she baked for her brother), but never , at any point will you be free of the strings she controls. While most people working with the moving image choose between fiction and documentary, Laure’s refreshing approach brings narration right back to a very material thing, that is dosed and modelled at will, making her videos both fictions and a documentary of these fictions being made. Colin Guillemet is an artist and one of the founders and organisers of PILOT. Laure Prouvost was born in 1978 in France. She lives and works in London.
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HOOO, this is the cake I made today , HOO this is the cake I made today
Education 2001 Central St Martins College of Arts, London, UK Solo exhibitions 2006 The unamable, Lounge Gallery, LUX Group exhibitions 2007 Stong sory, Home is Where the Heart is, CASM, Barcelona, Spain 2007 Olsen, n3, Leeds, UK 2006 Cinema texas (My friends - brother stong sory untitled) 2006 After the Butcher, Berlin 2006 CCCB, Centre de Cultura Contemporània de Barcelona, xcentric 2006 Evolution, Lumen, my friends, brother stong sory, Leeds 2005 Keeping up apperances, Danielle Arnaud, LCC 2005 Ballroom, Texas 2005 Film festival Lituania 2005 For a better life, Rennes école des beaux-arts, France 2004 Vis a vis art, Angle, Xiamen, China
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2004 For a better life, Cinema Texas 2004 Eva 43 years old, Loupe Gallery, New York 2004 Painted tv, nowhere elses but here, Danielle Arnaud Gallery London 2004 Me and you, Tate Britain auditorium 2003 Show in Madrid, Morcilla gallery 2003 Show Fabula, the National Museum of Photography, Film and Television. 2003 Eva’s friend, Institute of Digital Culture, Art Museum, Solothurn Switzerland 2002 Blue Birds, Morcilla Gallery, Barcelona and Madrid, Spain 2001 Future Map, London 2001 St Martins windows, London 2001 East London bakery, London 2000 Group Show, Aurel, France 2000 Pandaemoiun Biennial, London Lux Center, 2000 Selected for the new contemporaries, London 1999 Group show, Aurel, France Other Curator of tank.tv, moving images online gallery
Above: Stong Sory – brothercake, 2005, video, colour, 4’20”; left: four stills from Abstraction quotidienne, 2006, video, colour, 3’
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Above: Stong Sory – vegetable, 2005, video, colour, 2’50”; right: Holiday 78, 2002, video, colour, 8’; top right: Eva 43 years old (garden), 2002, video, colour, 43’; far right: Blue bird, 2002, video, colour, 4’30”
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I just completely forgot I did put my child under there, he wasnâ&#x20AC;&#x2122;t very nice or I canâ&#x20AC;&#x2122;t remember, he must have been bad with me. And I just did completely forgot about him.
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TOM RANAHAN Nominated by Andrew Hunt
Tom Ranahan’s recent photographs of Great Yarmouth address the e xcessive c ulture c ontained wi thin c ertain p arts o f o ur contemporary environment. Yarmouth has become a ca ricature of itself, and the place has a double-edged identity that clings to a s trange se mblance o f r eality. O ne c ould s ay t hat R anahan’s pictures reveal the town’s particularly British split personality, or that they render any easy journey into pure fantasy farcical, as they hover in an edgy no-man’s land. Perhaps the real beauty in Ranahan’s images is their incidental banality: there are no over -played theatrics, no social anthropology or distant docu mentary style. These pictures simply d escribe e xtraordinary p laces. Joyland I and Joyland I I (both 2005), for instance, present straightforward images of a fun fair. Joyland II shows a cartoon fibreglass landscape populated by spooks and ghouls, as well as clowns and soft animals. The most s uccessful o f t hese e lements i s a r ocket t hat’s s omehow embedded itself in the roof of the building – or in the grass bank of the fictional landscape. This spaceship also appears in Joyland I, which is perhaps the more unusual of the two pictures. The amusement park’s gates stand at the centre of the frame, as does a m odern Toyota v an – a nd i t’s t his i nappropriate i nvasion o f normality, or unnatural jump, that gives the picture its strange form of pathos. What’ s this vehicle doing in the picture, corrupting the already implausible nature of its subject matter? As a n ative of Bi rmingham, i t m ight se em s urprising t hat Ranahan shows empathy with the diverse abandon of seaside culture. His own city in the Midlands is the only major landlocked metropolis in the country without a natural centre point or a river running through it. Yet Ranahan’s home is equally fragmented and, until recently – before massive redevelopment took place – seemed b eautifully wi thout d irection. Th e l ast f ew y ears h ave seen a massive change in the city’s landscape and fortunes. The old Bull Ring’s gone, and a lot of the more unusual local character has been thrown out with it. Ranahan has had his studio in the city centre’s adjoining area of Digbeth for the past fifteen years, and he’s been documenting the r enovation of factories, the wholesale demolition of buildings, as well as the stubborn refusal of certain parts of the area to give up the ghost. So one can begin to see that, in this sense, both Birmingham and Yarmouth occupy a similar grey area of perception: at one moment depressed and highly strung, at another, elated and at one with the world. Ranahan’s latest works push this division between wonder and alienation fur ther. They continue to evade any overbearing interpretation, and reveal more magical, disturbing and honest views of the ar tificial culture that lies at the hear t of our contemporary world. This is why I like his work. Andrew Hunt is curator of International Project Space, Birmingham, UK. Tom Ranahan lives and works in Birmingham.
TOM RANAHAN
Above: Joyland I, 2006, colour photograph, 61 x 91.5cm
Education 1985 BA (Hons) Fine Art, North Staffordshire Polytechnic 1982 Foundation course in Art and Design, Birmingham Polytechnic Solo exhibitions 2005 Across the Waves, Birmingham International Airport and Shannon Airport, Ireland 2005 A Tale of Two Houses, Haden Hill House Museum, Cradley Heath, UK 2004 Heritage Sites, Window Space Project, Birmingham City Centre 2004 I am Tom Ranahan, Kidderminster Library
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Gallery, UK 2004 A Complicated Man, City Space Gallery, Birmingham 2002 Tom Ranahan, Gallery at St Paul’s Crossing, Walsall, UK 1996 Indeed the Hunger, a personal response to the Irish Potato Famine, Birmingham Central Library 1995 A link in the Chain, Eagle Works Gallery, Wolverhampton, UK Group exhibitions 2007 Chinese Whispers, Periscope element of ‘The Event’, Birmingham 2007 New Generation Arts Festival 07, Birmingham
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2007 Winter exhibition 2007, Contemporary Art Projects, London 2006 London Photomonth, Contemporary Art Projects, London 2006 Bill Brandt in Bournville, International Project Space, UCE, Birmingham 2006 East International 06, Norwich Gallery, UK 2005 Derby Open Exhibition, Derby Museum & Art Gallery 2005 All at once, together, at the same time, Colony, Birmingham 2005 Crow, Custard Factory, Birmingham 2004 Project 99, multiples selling project, various
locations in Birmingham 2004 Small Works, Birmingham Artists Open Show, Project Space, Birmingham 2003 Repertorio, Birmingham/Milan exchange, Chuck Works in Birmingham, Milan, Brescia, Rozzario 2003 Islington People, Digital Art Exhibition, the Islington Museum, London 2002 Altered Image, Solihull Arts Complex, Solihull, UK 2002 Birmingham Works, Chuck Works, Birmingham 2000 Life, Open Photography Show, Ark-T Centre, Oxford 1997-1998 Gallda Touring exhibition, Birmingham, London, Liverpool
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Above: Joyland II and III, 2006, colour photographs, 61 x 91.5cm; right: Rule Britannia, 2006, colour photograph, 91.5 x 61cm
TOM RANAHAN
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LALA RASCIC Nominated by November Paynter
Lala's inquisitive research into audio drama and the installations she has developed from this interest are enthralling and refreshing. Although her works contain references to period style and found material, Lala plays with the genre's traditional roles and themes to invent new narrative threads and a contemporary angle from which to present the medium. Lala's personal par ticipation in the stories she forms, or adopts is paramount. The way she imparts such energy into her characters' reincarnations and often gives her audience physical access to the installations via various props, encourages those who encounter her work first-hand to feel implicated in the narrative and part of a shared experience. November Paynter is a Consultant Curator at T ate Modern. Lala Rascic was born in 1977 in Sarajevo, Bosnia & Herzegovina.
Education 2003-2004 work period at Rijksakademie van Beeldende Kunsten, Amsterdam 2001 BA & MA, University of Zagreb, Academy of Fine Arts, painting and art education 1995 School of Applied Art and Design in Zagreb, Graphic Design department Solo exhibitions 2007 Everything is connected, National Art Gallery of Bosnia and Herzegovina, Sarajevo
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2006 Sorry, Wrong Number, Art Radionica Lazareti, Dubrovnik 2005 Flying Carpet, Gallery Miroslav Kraljevic, Zagreb 2005 The Invisibles, Galerie Dick de Bruijn, Amsterdam 2004 New Work, Galerija Nova, Zagreb, Croatia Group exhibitions 2007 Women on the Crossroads of Ideologies, City Hall, Split
2007 Performing the Space, Association of Architects, Zagreb 2007 Heroes in Transition, Angel Row Gallery, Notthingam 2006 Absent Without Leave, Bucharest 2006 We are So Much Better Than This, Overtones Gallery, Los Angeles 2006 Insert, Retrospective of Croatian Video Art, Museum of Contemporary Art, Zagreb 2005 Normailzation: That from a long way off look like
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flies, Platform Garanti CAC, Istanbul 2005 Outside Sources, Kunstlervereingung MAERZ, Linz 2005 Tricky woman, film festival, Vienna 2004 New Video, New Europe, Renaissance Society, Chicago 2004 Unimovie, Museo Laboratorio, Citta Santâ&#x20AC;&#x2122;Angelo, Pescara 2003 Balkan Konsulat, <rotor> Association for Contemporary Art, Graz
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2003 Last East European Art Show, Museum of Modern Art, Belgrade 2003 Video Medeja, Novi Sad 2003 9. Sarajevo Film Festival, Sarajevo 2002 Kurtzfilmtage Oberhausen Residencies 2007 Forum Stadpark, Graz 2006 ISCP, New York 2005 Cite des Arts, Paris 2005 IRP Platform Garanti, Istanbul
Above: The Flying Carpet, 2005, installation, dimensions variable, molded multiplex, sound, PCs, Internet; left: Sorry, Wrong Number, 2006, video still, video: DVD, PAL, stereo, BW, 15â&#x20AC;&#x2122;
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Above: Invisible People, 2005, computer drawing, 100 x 130cm, print on canvas; right: The Invisibles, 2005, video still, video: DVD, PAL, stereo, 31â&#x20AC;&#x2122;; far right: General, 2006, 70 x 100cm, watercolor on paper
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RACHEL REUPKE Nominated by Stuart Comer
Rachel Reupke’s videos are striking visual fictions that unsettle any predictable balance between stillness and motion. Grand panoramas of human progress are presented in long takes that invite close scrutiny. Gradually, the uncanny grandeur of these images and their apparent suspension of time is subtly and slowly ruptured by incidental details of human intervention. Airpor ts, mountain ranges, autobahns and sylvan fields form hyper-real stages for small, unresolved journeys dwarfed by the landscapes of capital. Recalling a range of landscape traditions in film, photography and painting, Reupke’s work adds to the genre a
keen interest in cinematic special effects that heighten an almost sinister sense of both the familiar and the remote. In Reupke’s videos, uncer tainty seems to challenge the freedom traditionally implied by the epic spaces she depicts; the transcendental landscape gives way to the ambivalence and insecurity of liquid modernity. Stuart Comer is Curator: Film at Tate Modern, London.
Rachel Reupke was born in 1971 in England. She lives and works in London.
Above: www.picomirador.com (detail), 2003, website; right: Infrastructure, 2002 (stills), DVD, 14’
Education 2000 MA Image and Communication, Goldsmiths College, University of London 1993 BA Fine Art, Nottingham Trent University Exhibitions and screenings 2007 Vidéo et après, Pompidou Centre, Paris 2007 24 Hour Fresh Air, L’Espace Croisé, Roubaix, France 2007 I am Future Melancholic, Tate Modern, London 2006 Une vision du monde, la collection Lemaître, La Maison Rouge, Paris 2006 A Season in Hell, Danielle Arnaud Gallery, London 2006 His life is full of miracles..., Site Gallery, Sheffield, England 2005 Terra Infirma, Espai d'Art Contemporani de Castelló, Spain 2005 Randonnée, Sonar, Museu d'Art Contemporani de Barcelona 2005 The Mind Is A Horse, Part Two, Bloomberg Space, London
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2005 Biennale of Contemporary Art Prague 2005, National Gallery, Czech Republic 2005 As If By Proxy, Redux, London 2005 Ann Arbor Film Festival, Michigan, USA, Judge Emeritus Award 2005 International Film Festival Rotterdam, Netherlands 2004 Moving Landscapes, Filmmuseum, Vienna 2004 Seoul Film Festival, Korea 2004 Cinematexas 9, USA, Special Jury Award 2004 Tour-isms, Fundació Antoni Tàpies, Barcelona 2004 Once Seen, Oslo Central Station, Oslo; Tromsø Kunstforening, Tromsø 2003 Video Lisboa, Galeria Zé dos Bois, Portugal 2003 After Nature, CCA, Glasgow, Scotland 2003 Moving-Places, Plymouth Arts Centre, England 2003 Artists’ Film & Video Programme, Site Gallery, Sheffield, England 2003 The Entangled Eye, Danielle Arnaud Gallery, London; Gallery Speak For, Tokyo
2003 LUX Open 2003, Royal College of Art, London 2003 Video Store, Foxy Productions, New York 2003 International Film Festival Rotterdam, Netherlands 2002 Evolution 2002: Process, Leeds City Art Gallery, England 2002 Less is a bore, humans need more!, The Mission, London 2000 The Poster Show, Cabinet Gallery, London Collections Musée National d’Art Moderne, Centre Pompidou, Paris Commissions and awards 2004 London Artists’ Film and Video Award, Film London 2003 www.picomirador.com commissioned by DRU, The Media Centre, Huddersfield 2003 Parc Naturel funded by Mudam, Luxembourg Residencies 2006 Arts Council Fellowship with Triangle Arts Trust in Beijing, China
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Above: Tignes, 2005 (still), DVD, 11’30”; top left: Untitled, 2006 (still), DVD, 1’45”; left: Now Wait for Last Year, 2007 (stills), DVD, 8’
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DELPHINE RIGAUD Nominated by Irene Calderoni
Delphine Rigaud’s work develops out of an archaeological research that reveals aspects of cultural history which are hidden under the more immediate facet of reality . The results of these in-depth investigations are given back through complex structures that move these data horizontally , from one discursive device to another, subverting their disciplinary affiliations. Irene Calderoni is assistant curator at Fondazione Sandretto Re Rebaudengo, Italy.
Education 2005 BA, Art Academy Clermont Ferrand (Ecole Supérieure d’Art), France Group exhibitions 2007 Dématérialisation, La Box, Bourges, France 2006 Fatti e finzioni della venusta isola di San Servolo in Venezia, San Servolo, Venice, Italy 2006 Territories, Kunstverein Tiergarten, Berlin, Germany 2006 Postproduction, Art centre La Suite, Chateau
DELPHINE RIGAUD
My projects deal with the matters of traceability . I intend to show the history and geography of things that are par t of our contemporary cultural environment, to turn the spotlight on the hidden part of the iceberg, the element as par t of a whole. Usually, the genesis of a project consists in an inquiry ,a collection of information, classified, ar ticulated and put in a visual form related to geography, classification, semiology... 21st century: expanding information, globalisation, profusion urge us to know where our products come from: traceability has become an unavoidable tool. I diver t and reverse this tool and use it in other situations to reveal the paths of what we have before our eyes. Delphine Rigaud was born in 1979. She lives and works in Strasbourg, France.
Thierry, France 2006 Les enfants du Sabbat 7, Art Centre Le Creux de l’Enfer, Thiers, France 2006 Première (11th), Art centre Abbaye Saint André, Meymac, France 2005 Rendez-vous (part 3), Galerie des Terraux, Lyon, France 2005 Travaux en cours, temporary art space, 11, rue de l’Egalerie, Saint Etienne, France 2005 En cours de travaux-travaux en cours, Museum
of Modern Art, Saint-Etienne, France Residencies and grants 2007 Artist from “Précaritas-Syndicat Potentiel” association Le Faubourg, Strasbourg, France 2006 Grant from the Cultural Department, City Council of Paris 2006 Artist in residence, artLAB San Servolo, Venice, Italy 2005-2006 Postgraduate, Art Academy, Lyon (Ecole Nationale des Beaux Arts), France
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Above: Made in…, 2005, wall painting with plaster, pencil, masking tape and acrylic paint, dimensions variable; left: Téléréalité (reality TV), 2006, installation with disassembled TV-set elements ordered on a table, 99 drawings, and video shown on TV-set; right: two drawings from Télé-réalité (reality TV), ink on paper, 21 x 29.7cm each
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Above: Untitled (graphic), 2005, ink on blank newspaper, adhesive tape, 800 x 280cm (present size); top right: GĂŠnĂŠriques (credits), 2006, videoscreening (both sides) on hung screen with soundtrack, view from the show Les Enfants du Sabbat 7, 300 x 200cm; right: Ipsum Lorem, 2006, blotted out copy of De finibus bonum et malorum, book 1, by Cicero, pencil on paper, 150 x 350cm
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DOUGLAS ROSS Nominated by Larissa Harris
I met Douglas Ross during his residency at the W orld Trade Center studio program, where on its skinny windows heâ&#x20AC;&#x2122;d installed blinds whose slats whirled 24 times a second, making a clatter like an old projector. You looked through and 91 floors below the city jittered as if filmed in 1912. Douglas is a scholar as well as an artist. Each elegant piece is the story of a search through history and technology. He is a perfectionist. He did a subjective lecture on Rosemarie T rockel without mentioning her name. Recently he and I learned about quantum entanglement, a concept in physics, for a mini-project for
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Aprior (one of the documenta 12 magazines). For a while he's been mulling an idea involving a window, a quotation, and an oceanfront shrine in Japan. Every work has to succeed in reframing the world, at least for a second. Larissa Harris is curator and associate director of the Center for Advanced Visual Studies at MIT in Cambridge, MA.
Douglas Ross was born in 1969. He lives and works in New York.
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Right: Picture Motion, 2006. In the Anderson Gallery at Virginia Commonwealth University, motorized horizontal blinds created for two gallery windows rotated in unison masking the outside light from the room 8 times per second. The world seen outside and inside of the room appears as a distinctly filmic sensation, while changing with the light of day. Plastics, aluminum, nylon, rubber, steel, motors, precision mechanical parts, natural and city light, dimensions variable; right: Picture Motion, 2006, Miami MOCA Goldman Warehouse
Group exhibitions 2006 Artificial Light, Anderson Gallery VCU, Richmond, Museum of Contemporary Art, North Miami, MOCA at Goldman Warehouse, Miami 2006 Rencontres Internationales Paris/Berlin, Theatre Paris-Villette, Paris 2005 LISTEN, Rotterdam Film Festival, Netherlands 2005 More Fools In Town #6, Turin, Italy 2005 Between You and Me, Arthouse, Austin 2004 eâ&#x20AC;&#x201C;flux video rental, KW Institute for Contemporary Art, Berlin, Manifesta Foundation, Amsterdam, The Moore Space, Miami, Portikus im Leinwandhaus, Frankfurt, Insa Art Space, Seoul, Extra City, Center for Contemporary Art, Antwerp 2003 Utopia Station, Radio Arte Mobile/Zerynthia, 50th Venice Biennale Internet Radio Project in cooperation with Franz West, Tese delle Vergini garden
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2003 Harmony, a video by Douglas Ross, Mills College Art Museum, Oakland 2002-2004 Walk Ways, PICA, Portland, Western Gallery, Western Washington University, Bellingham, Dalhousie University Art Gallery, Halifax, Nova Scotia, Oakville Galleries, Ontario, Canada, Texas Fine Arts Association, Austin, Freedman Gallery, Albright College Center for the Arts, Reading 2002 ARCUS Projects, Contemporary Art Factory, Tokyo 2002 Listening to New Voices, PS1 Contemporary Art Center, New York 2001-2003 One Planet Under A Groove: Hip Hop and Contemporary Art, The Bronx Museum of the Arts, Bronx, New York, The Walker Art Center, Minneapolis, Spelman College Museum of Fine Art, Atlanta, Museum Villa Stuck, Munich, Germany
2001 Interval, Sculpture Center, New York Cinque pezzi da New York, CareOf, Milan, Italy Residencies 2002-2003 ARCUS Project, Moriya City, Ibaraki, Japan 2001-2002 P.S.1 Contemporary Art Center International Studio Program, New York 2000 Lower Manhattan Cultural Council, World Views, New York 1998 Skowhegan School of Painting and Sculpture Awards and fellowships 2002 Asian Cultural Council Fellowship 1999 Socrates Sculpture Park Emerging Artist Fellowship 1998 Skowhegan School of Painting and Sculpture Fellowship 1998 Paula Rhodes Memorial Fellowship
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Above: Vitrine, 1999, the museum for one object in a public sculpture park, steel, acrylic, concrete, rubber, hardware, latex paint, 914 x 396.2 x 167.6cm; left: Graft, 2001, paint removed from a wall in New York City via fiberglass, glycerine, fish-glue and other media, is installed in several exhibitions, after which time it is restored back to its originating wall, 91.44 x 125.5 x 0.3175cm; right: Into the Hearts of Millions , 1998-2002, chromogenic print, laminated and mounted on aluminum with black â&#x20AC;&#x153;museum boxâ&#x20AC;? support, 127 x 127cm
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EDWIN SÁNCHEZ Nominated by El Bodegón
In a context mediated by the idea of the artist as a producer of comfort and good will, Edwin Sánchez is possibly the only one who is interested, in the recent history of Colombian ar t, in taking the term “exposición”(analog to “exhibition” but charged with an additional layer of risk) to its limits. His work is so idiosyncratic and always ready to aim dark zones using the logics of pover ty, marginality and violence on a new and complex way in which all of that results transformed in an unexpected situation that turns upside down all the possible consensual ideas. El Bodegón is a contemporary art space in Bogotá, Colombia.
Education 2007 Fine Arts, Universidad Jorge Tadeo Lozano, Bogotá 2002 Industrial Design, Universidad Jorge Tadeo Lozano, Bogotá Group exhibitions 2007 Hostipitalidades, curated by El Bodegón, Jesus Abad Colorado’s Garbage, with Anonymous Collective, La Jícara Café Galería, Encuentro internacional MDE 07, Medellín, Colombia 2006-2007 Salón Nacional de Artistas Jóvenes,
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I don’t consider my work as ar t. Instead I believe they are just projects and immediate actions that generate strong meanings. When I do these type of works I don’t think in the consequences that they may have nor in th e moral or ethical considerations involved. I don’t follow a specific methodology, I just let the action go on and let it define its own way. What I’m really interested in is an initial idea that can talk about a specific context and the conditions in which it is developed. I just consider feasible those works with character and that somehow have an effect on the spectator, the rest is useless. Edwin Sánchez was born in 1976 in Bogotá, where he lives and works.
Rimembermovil: Karaoke, Galería Santa fe, Bogotá 2006 Arte y Naturaleza, Tensions, Quinta de Bolívar, Bogotá 2006 Procesos Urbanos, Subtraction Exercise, Fundación Gilberto Alzate Avendaño, Bogotá 2006 Festival Internacional de Performance de Cali, Obra Social, with the Porn-misery Collective 2006 Faizanizate Rock Tour, with The Rimembers, Plazoleta del CAM, Cali, Colombia 2006 Soft Sculpture Project, curated by Mario Opazo, Salón Nacional de artistas, Archivo Distrital, Bogotá
2006 Drawing Classes, curated by Juan Mejia, Salón Nacional de artistas, Biblioteca Luís Ángel Arango, Bogotá 2005 Video y Julieta, directed by Mario Opazo 2005 Experimenta, Subtraction Exercise, Biblioteca Luís Ángel Arango, Bogotá 2004 Fuente Abierta, curated by Esteban Rey, Hermes Peñalosa Project, Universidad Nacional de Colombia, Bogotá 2003-2004 Proyecto Global, curated by Fernando Escobar, Bibliotecas Virgilio Barco y el Tintal, Bogotá
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Above and left: Obra social (Pornmisery Collective), 2006, ten homeless people were washed at the central square in Cali, Colombia by two girls barely dressed, while three fascist entertainers invite public to suppor t “social cleansing” in town. Loud trance music including “Negros de mierda” (scum niggers) and “Carwash” was the soundtrack of the event, Festival Internacional de Performance. Photograph by Helena Producciones; right: In my place, 2004, hidden camera video filmed at a peep show in Bogotá, DV video, 3’50”
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Above: Annulation exercise, 2006, action of supplanting the figure of an indigent by the one of a box, DV video from action, 1’20”; left: Knife sessions, 2006-2007, educational video series on “how to stab” people correctly. Jimmy, the instructor, is a junky robber who works at the Bogotá’s downtown; facing page: Desired objects, 2007, photographic record of thieves captured at a store in Medellín, Colombia. The images are used for security and punishment purposes by the owners who exhibit the pictures at the store. Some of them has been bought by the ar tist.
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FIA-STINA SANDLUND Nominated by John Peter Nilsson
In her 43 minutes long sound installation Konstnärsklubben [The Artists’ Club; a club in Stockholm that has only been open to men since 1856] from 2003, Fia-Stina Sandlund rings up the members and asks them why women cannot become members. The conversations reveal the underlying values the club is based on and still maintains. This is a typical “action” by Sandlund. In her art she is very direct and it is not difficult to get her message – like a journalist she reveals the injustice between the sexes in our contemporary society . Beside the facts she finds it is the way she is presenting them that make her art important. Under the name “Unfucked Pussy” she and her ar tist friend Joanna Rytel entered the stage during a live television screening of a Miss Sweden competition 2001 with banners carrying “Gubbslem” [Bloke-slime]. Despite the drastic action many people laughed in agreement with the message. Even so much that when the Swedish swimwear manufacturer Panos bought t he r ights t o t he M iss S weden c ompetition, h e telephoned Sandlund 2005 to ask advice to make the competition more “feminist”. Sandlund played along and recorded the conversations without Panos knowing it. Finally she revealed that she was to use the material for an upcoming sound installation. T o her surprise Panos agreed and their conversations resulted in the sound installation “My business with the Bikini King” from 2006 - an extremely interesting discussion that also touched upon herself as an artist and how close an artist’s “trade-mark” is to other trade-marks in society. Using documentary methods with both humour and seriousness, Fia-Stina Sandlund is an agent provocateur that reveals different aspects of injustices in our contemporary society. John Peter N ilsson is curator at Moderna Museet in Stockholm, Sweden.
My work could be described as one long on-going project where I constantly interact with society through the arts scene but also through media and political activism. I am interested in both the similarities and the differences between these three fields. On the one hand they have a lot in common as three ways of expressing social criticism. On the other hand, they are surrounded by very different rules, opportunities and obstacles. Lately , I have spent a lot of time working with conversations that illustrate those issues. They have been documented and presented in books, papers, as sound installations, radio, or as performances based on documentary sound. Fia-Stina Sandlund was born in 1973 in Stockholm. She lives and works in Stockholm and New York.
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Above: The Artists’ Club, 2003, installation. It is an audio study in which I phone members of the so-called Artists’ Club in Stockholm. This 150-year-old society is for male artists only – women are not allowed. The club has a large amount of money and awards grants. The club is almost like a religious group with its rituals, private meeting place and common grave. The members meet every Thursday to eat, drink and listen to lectures
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about art. New members are recruited at, for example, the art academy and some of Sweden's most successful artists are members of the club. In my piece, I simply ask them about what they do at their meetings? Why are women excluded? And if I could come there and hold a lecture? The work has been presented as a sound installation at Moderna Museet and also as a radio documentary for Swedish Radio.
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Above: If you are the rebel, I will be decent, 2006, performance. It is shown in a theater context. From October to December 2006, I toured Sweden and performed in various theatres. The performance is a documentary in three acts. Each of them is about an encounter between me and another person. Act 1 is set in the world of art and is an interview with Lars Nittve – Head of the Moderna Museet. We are discussing our roles and the expectations that the audience might have on our conversation. Act 2 is set in media, it’ s about my job as a sidekick for Pontus Enhörning – famous Swedish radio host. In 2005 I was type-
Education 2003 Konstfack, Stockholm 2000 The Academy of Photography and Film, Gothenburg Group exhibitions 2006 If you are the rebel, I will be decent, Soloperformance, Swedish tour 2006 Moderna exhibition 2006, Moderna Museet, Stockholm 2006 Capital (It Fails Us Now), Kunstihoone, Tallinn, Estonia 2005 Capital (It Fails Us Now), UKS, Oslo, Norway 2005 Second Blind Date, gallery ak28, Stockholm 2005 ARTFEMINISM, Dunkers, Gothenburg Art
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cast for my feminist approach but when I finally expressed my opinions, I got fired. Act 3 is set in a political activist context. It is a retelling of a failed political action that I planned to make together with Ulla Røder – hardcore Danish Peace activist. The set consists of three large blinds and some chairs. My dialogue is mixed with documentary sound clips and projected texts and photos. In each of the encounters, underlying absurdities are revealed which would pass unnoticed in another context. When they are highlighted via sound clips, they appear as hidden power manoeuvres and social norms that have not yet been questioned.
Museum and Liljevalchs 2005 Radiodays, De Appel, Amsterdam 2005 Unizone, Norwegian and Swedish Travelling Exhibitions, Riksutställningar 2005 Participation: Nuisance or Necessity? IASPIS Gallery, Stockholm 2004 Ici, video-exhibition, Nantes, France 2004 Swedish Hearts, Moderna Museet, Stockholm Protest actions 2003 50/50 best pop group of the year, against the Grammyawards 2003 We can not eat the honour, action against Norrköpings Art Museum 2003 The red stocking is thrown, radio protest
against the country Denmark 2003 Radio protest action against National Film Awards 2002 Action Against Miss Sweden part 2 2002 TV-protest against the talkshow Slussen, TV3 2001 Action against Sweden's Lucia pageant at Skansen, Stockholm 2001 Action against Café-magazine, Sturecompagniet, Stockholm 2001 TV-protest against Miss Sweden part 1 Radio documentaries 2005 SRc, My Business With The Bikiniking 2004 SRc, The Way Of Socialism 2003 P1, The Artists’ Club – as one big happy family
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This page: My Business With The Bikiniking, 2005. In spring 2005, Panos Papadopoulos, owner of the swimwear company Panos Emporio, phoned me and asked for advice concerning the future of the Miss Sweden contest. He is the new owner of the rights to the competition. My contribution on the other hand, is that I did a successful protest action against the show on live TV in 2001. Since then, the competition has been an economical flop with a decreasing number of viewers. Panos idea was to make the competition popular again and for that he wanted to collaborate with me â&#x20AC;&#x201C; his biggest enemy . The work is based on my (endless) conversations with Panos and articles that have been published in Swedish papers. It deals with matters of different kind of capital and about our official roles and strategies in Swedish society . The project has been presented as an installation at UKS in Oslo, Kunstihoone in T allinn and Moderna Museet in Stockholm. It has also been published as a 45-minute radio documentary for Swedish Radio. Top left: Pressrelease from the Bikinikingâ&#x20AC;&#x2122;s office, announcing that they will put the competition on hold, for the first time in history; top right: Portrait of the ar tist right after the action against Miss Sweden pageant. The word Gubbslem "Bloke-slime" was used as a saying during the action and has since then become a word used in Swedish media when meening the Patriarchy; right: Portrait of the Bikiniking Panos Papadopoulos, the new owner of the rights to the Miss Sweden contest.
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PABLO SAN JUAN Nominated by Doméstico
In his work Pablo San Juan shows his passion for colour and shape. His canvases reflect his skills of pictorial analysis. Stripes, circles: motifs of Pop origin that leads us to pure painting with a playful and ironic point of view and a vibrant and sinuous rhythm. We nominate this artist because Doméstico’s team likes his paintings very much, the colours and shapes he develops in his works, and because he is so good in painting as well as in drawing, in both big and small formats, and because his work is so precious… Because we like painting, too!! Doméstico is a non-profit team of 5 curators working in Madrid. Pablo San Juan was born in Madrid in 1965. He lives and works in Madrid.
Solo exhibitions 2005 Agujero Negro, Casa de América, Madrid 2002 Galería Garage Regium, Madrid 2001 Miquel Mont-Pablo San Juan, Doméstico’ 01, Madrid 2001 Diga 33, Doña Fernanda, Madrid 1999 Galería Luis Adelantado, Valencia 1998 Doblespacio, Madrid 1996 Matadero espacio-arte, Guadalajara Group exhibitions 2006 IV Bienal Internacional de Artes Plásticas, Centro Municipal de las Artes de Alcorcón 2004 El puto gotéele, Doméstico’ 03, Madrid 2003 Premio de Arte Contemponáneo L’ Oreal XIX edición 2003 Centro Cultural Conde Duque, Madrid 2003 Urbietorbi, Photoespaña’ 03, Madrid 2003 ARCO’ 03, Galería Garage Regium, Madrid 2002 Artissima’ 02, Galería Garage Regium, Torino 2002 Hotel Y Arte’ 02, Galería Garage Regium, Sevilla 2002 Cara A Cara, Galería Luis Adelantado, Valencia 2002 ARCO’ 02, Galería Luis Adelantado, Madrid 2001 VII Mostra Unión Fenosa, Estación Marítima, La Coruña 2001 Art Chicago’ 01, Galería Luis Adelantado, Chicago 2001 ARCO’ 01, Galería Luis Adelantado, Madrid 2000 FIA’ 00 (Feria Iberoamericana de Arte), Galería Luis Adelantado, Caracas 2000 FIA’ 00, Jóvenes con FIA, Caracas, www.operariodeideas.com 2000 X Edición Premio de Pintura de la UNED, Casa de Velásquez, Madrid 2000 ARCO’ 00, Galería Luis Adelantado, Madrid 1999 XV edición Premio de Pintura L’ Oreal, Centro Cultural Conde Duque, Madrid 1999 II Salón Refractario, Galería Buades, Madrid 1998 Ediciones Doblespacio, Doblespacio, Madrid 1996 Matadero I, Matadero espacio-arte, Guadalajara
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Above: 2 Untitled, 2004, acrylic on canvas, 150 x 120cm; top left: Untitled, 2005, acrylic on canvas, 20 x 20cm; far left: Untitled, 2005, acrylic on paper, 70 x 50cm
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Above: Untitled, 2006, acrylic on canvas, 195 x 195cm; top left: Untitled, 2004, acrylic on canvas, 90cm diameter; far left: Untitled, 2004, acrylic on canvas, 195 x 114cm; left: Untitled, 2005, acrylic on paper, 70 x 50cm
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JORGE SATORRE
Nominated by DAE (Donostiako Arte Ekinbideak) Barcelona-based Mexican ar tist Jorge Satorreâ&#x20AC;&#x2122; s work is influenced by specific moments of ar t history, especially those related with performative bodies and conceptual practices, for instance Matta-Clark and Chris Burden among others. The artistâ&#x20AC;&#x2122;s methodology of research and approach to the work of these artists is highly subjective and poetic. Re-enactments and critical reading are at the base of this practice and also a potentiality of negotiating with shifting cultural and identity based landscapes and territories. Peio Aguirre and Leire V ergara are curators at Donostiako Arte Ekinbideak, San SebastiĂĄn, Spain.
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Over the last three years my projects have centred around the carrying out of exercises based on processes and experiences, I have raised situations in which the endeavour contained in them determines the scale and possibilities of the work. The productivity of this effor t is put into prohibition when the results are presented through a variety of documentation that, because of their sketchy information or because of the unreliability of the medium, work like simple suggestions of the event. These modest ways of presentation suppose a departure point to analyse a practical way of creating a type of work that can survive on its possibilities of oral communication rather than its visual elements. In parallel to the practice outlined above, my attention is also focused on the historical revision of referential situations, taking them to a place of personal experience, using mainly the diverse possibilities of drawing, like an historical document and a tool of recovery for the memory . Jorge Satorre was born in 1979 in Mexico. He Lives and works in Barcelona.
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Above: Windows Blowing out, 2005, DVD monocanal, 6’44”, edition of 2000 posters A3 size, offset, recycled paper 140 gr . (documentation of an action); left: Barry’s van, 2005, edition of 2000 posters A3 size, offset, recycled paper 140 gr, (documentation of an action)
Education 2007-2008 Le Pavillon, Palais de Tokyo, Paris 2007 Irish Museum of Modern Art, Dublin 2004 FLACC, Genk, Belgium 2003-2005 HANGAR, Barcelona 1997-2001 Universidad Autónoma MetropolitanaAzcapotzalco, México DF, Graphic communication studies Solo exhibitions 2007 West Cork Arts Centre, Skibbereen, Ireland 2007 The process room, Irish Museum of Modern Art, Dublin 2006 Ejercicios, La Casa Encendida, Madrid Group exhibitions 2006 Barcelona Producción, La Capella, Barcelona 2006 Paperback, CGAC, Santiago de Compostela/ MARCO, Vigo, Spain
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2006 XLIII Certamen Internacional d’arts plástiques, Museo de Pollença, Mallorca 2005 Algunos libros de artista, Galeria Projecte SD, Barcelona 2005 Se busca, HANGAR, Barcelona 2005 Living Landscape, West Cork Arts Centre, Skibbereen, Ireland 2005 Ho fem per a tu, disculpen las molestias, Centre Civic Sant Andreu, Barcelona 2005 Ciclo de video, Kornhausforum, Bern, Switzerland 2004 Fourth Vic Biennale 2004 L´estat de les estructures, HANGAR, Barcelona 2004 Ciclos de video, Últimas producciones de Hangar, Caixa Forum, Barcelona 2004 International meeting of artistic iniatives, Shanghai, China
2004 Institutional Flirts, FLACC, Genk, Belgium 2004 Arqueologias Efimeras, Can Felipa, Barcelona Publication projects 2007 Old news, collaboration in a project of Jacob Fabricius/Amanda Cuesta (in progress) 2006 National Balloon, La Capella, Barcelona 2006 17-5-2006, collaboration in “Ergo sum”, a project of Erick Beltrán 2004 Trabajo importante, HANGAR Grants 2007 Fondos para creadores en residencia, Departamento de Cultura de la Generalitat de Cataluña 2006 Barcelona Producción, La Capella, Barcelona 2006 First prize, Project Modality, Premio Miquel Casablancas 2004 First prize, Fourth Vic Biennale
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Across both pages: National Balloon, 2006, 60 drawings, 21 x 30cm and 13 slides (documentation of an action)
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TOMO SAVIC GECAN Nominated by Elena Filipovic
There are often no material remains, traces, or documentation possible of Tomo Savic Gecan’s various projects—indeed little besides the consciously dry language that he uses to describe the mechanisms or gestures that constitute his pieces. But don’t be mistaken, he is not a language ar tist and words are not his medium. T ime and space are, and the possibility of creating an object and an experience between them is the Croatian ar tist’s consisten t preoccupation. Consider the following: V isitors that entered an exhibition in Utrecht unknowingly set an escalator in a Zagreb shopping mall in motion (Untitled, 2001). In Venice for the 2005 Biennale, a line of text was placed on an exhibition space’ s wall; it recounted that the number of visitors at that very moment entering an art centre in Amsterdam was impacting the temperature of a public pool in T allinn (the pool having been programmed to receive the real time information and alter its temperature, ever so slowly and perhaps altogether imperceptibly , but nevertheless for real), ( Untitled, 2005). For a N ew Y ork exhibition, a computer program counted down the value of
Education 1993 Academy of fine Arts, Milan Solo exhibitions 2006 Testsite, Austin 2005 Etablissement d'en face projects, Brussels 2005 Galerija PM (with Julie Knifer), Zagreb 2004 Isabella Bortollozi Gallery, Berlin 2001 Karas Gallery, Zagreb Group exhibitions 2007 Let Everything Be Temporary or When is the Exhibition? Apex Art, New York 2006 GreyZones, Galerie für Zeitgenössische Kunst, Leipzig 2006 On Mobility ,De Appel, Amsterdam 2006 Mobility,Trafo,Studio Galeria,Mucsarnok, Budapest 2006 albergue holandes, La Station, Nice 2005 The One, NGC 224, New York 2005 Volume project, Amsterdam 2005 Les braves gars de Lianchanbo sont là!, Art3, Valance 2005 La Biennale di Venezia, Venice 2005 Low tech, Arti & Amicitiae, Amsterdam 2004 Flipside, Artist space, New York 2004 Mediterraneans, Macro, Rome 2004 Doll House, 75 Orchard, New York 2004 Visa for 13, PS-1, New York 2003 IF, Bitola 2003 Verboden op het werk te komen, Brakke Grond / W139, Amsterdam 2003 Re:Action, Prague 2003 Portal II, Kunsthalle Fridericianum, Kassel
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Savic Gecan’s contribution to the exhibition (the value being the “artwork” itself), from $10,000 at the star t of the show to $0 at the precise moment the show was to end (Untitled, 2007) with the constant devaluation consultable on the exhibition’s website. Between present and future, here and there, one gallery space and another, or between one gallery space and a shopping mall/public pool/Internet: in Savic Gecan’ s world distance dissolves and time stutters. As a result, his work often goes unnoticed in a world too often focused on spectacular, sellable – or at the very least tangible and visible – objects. Instead, with quiet legerdemain, he questions the definition of the work of art, pressing us to revise the idea that artworks can or should be experienced as totalities, in the present, and wherever we happen to be as spectators. Elena Filipovic is an art historian, critic, and independent curator. Tomo Savic Gecan was born in 1967 in Zagreb, lives and works in Amsterdam.
2002 Broadcasting, dedicated to Nikola Tesla, Technical Museum, Zagreb 2002 Fantasieen over niets, De Loge/Nieuwe Vide, Haarlem 2002 New Art from Amsterdam, Raid Projects, Los Angeles 2002 Devenirs / Becomings 2002 Visite III, Arti & Amicitiae, Amsterdam 2002 Here Tomorrow, Museum of Contemporary Art, Zagreb 2002 Non - Members only, Arti & Amicitiae, Amsterdam 2001 20 years of the PM Gallery, House of Croatian Artists, Zagreb 2001 Borders 2001: Suspense, Gallery Vladimir Becic, Slavonski Brod 2001 Interstanding 4: end repeat, Rotermann Salt Storage, Tallinn 2001 Conversations, Museum of Contemporary Art, Belgrade 2001 Common Ground, Begane Grond Center for Contemporary Art, Utrecht 2001 What, How and for Whom, Kunsthalle Exnergasse, Vienna 2001 Adriatico: Le due sponde, Michetti Foundation, Francavilla al Mare 2001 Multiple meervoud, De Parel, Amsterdam 2001 Freedom and Violence, Krolikarnia, Warsaw Grants and awards 2003 PS1, New York 1998 AICA Award, 33rd Zagreb Salon 1996 ArtsLink Fellowship, USA
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Untitled, 2000, Zagreb, Croatia, House of Croatian Ar tists: What, How and for Whom
Untitled, 2001, Gallery Karas, Zagreb
Untitled, 2001, House of Croatian Ar tist , Zagreb
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Untitled, 2001, Begane Grond Center for Contemporary Ar t, Utrecht
Untitled, 2000, Manifesta 3, Modern Gallery, Ljubljana
Untitled, 2003, Portal II, Kunsthalle Fridericianum, Kassel, Untitled, 2004, Isabella Bor tolozzi Gallery, Berlin
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Untitled, 2005, Etablissement dâ&#x20AC;&#x2122;en face projects, Brussel
Untitled, 2005, La Biennale di Venezia, Venezia
Untitled, 2006, testsite, Austin, USA
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ETHEL SHIPTON Nominated by Triangle Project Space (TPS) Ethel Shipton was born in Laredo, Texas, a city on the border between the US and Mexico. She has been working professionally as an ar tist since 1989. She has also been involved in the founding and growth of several independent art spaces, some of which are now landmarks within the city of San Antonio including: The Project Room, Sala Diaz, Blue Start Ar t Space and most recently TPS (T riangle Project Space). The time, effor t and energy that Shipton shares with
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the San Antonio art community; both with individuals as well as independent art spaces, belies a strength that the community acknowledges. Her effor ts help delineate the ar t profile of San Antonio. TPS is an independent art space in San Antonio, T exas, founded by Luz MarĂa SĂĄnchez and Peter Glassford. Ethel Shipton lives and works in San Antonio, T exas.
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Above: Rumble, 2005, vinyl & wood, 3’ x 3’; left: Bus Bench, 1998, plexie and metal, 2’ x 4’
Solo exhibitions 2006 Window Works, Artpace, San Antonio, USA 2001 Veer, RC Gallery, San Antonio, USA 2000 R & R Rest & Relaxation, Cactus Bra Gallery , San Antonio, USA 2000 Dancing on the Ceiling, Three Walls Gallery, San Antonio, USA 2000 Choices, Sala Diaz Gallery, San Antonio, USA 1998 You Are Here, House Space, San Antonio, USA 1997 Five Benches: A bus bench project in the streets of San Antonio, San Antonio, USA 1997 A Buck a Drawing, Project Room, San Antonio, USA 1993 Recent Work, Ethel Shipton, Women and Their Work Gallery, Austin, USA 1989 At the Flood Gallery, University of Texas at Austin, USA Group exhibitions 2005 Blue Star 25th Show, Blue Star Art Space, San Antonio, USA 2005 Stitch in Time, Women and Their Work, Austin, USA 2004 Piecework, Dallas Center for Contemporary Art, Dallas, USA 2003 Analia Segal and Ethel Shipton: Feminizing Forms? Finesilver Gallery, San Antonio, USA 2003 Theo Street Project (a project in the hood), San Antonio, USA 2003 Pair of Hearts: Art Where? San Antonio, USA 2002 Drawing in San Antonio, Marion Koogler
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McNay Art Museum, San Antonio, USA 2002 Inside/Out - Blue Star Art Space on East Commerce Street, San Antonio, USA 2001 Big as Texas, DiverseWorks, Houston, USA 2001 Small Comforts, RC Gallery, San Antonio, USA 2001 There Once was a Place, Locust Gallery, Miami, USA 2000 Fibrous, University of Southwest Texas State, San Marcos, USA 2000 Rite of Passage: Quinceañeras Debs & Other Queens, Blue Star Art Space, San Antonio, USA 2000 Sculpture 2000, 5 Benches, Houston, USA 2000 Latino Redux, The University of North Texas Art Gallery, Denton, USA 1999 Objects, UTSA Satellite Space, San Antonio, USA 1999 A Fresh Look at Texas Art, McKinny Contemporary Art Center, Dallas, USA 1999 Temporary Things, James Gallery, Houston, USA 1999 Fluid, The Center for Curatorial Studies, Bard College, Annandale-on-Hudson, USA 1999 New American Talent 14, Texas Fine Arts Association, Austin, USA 1998 Hip Hop Collaboration, Project Room, San Antonio, USA 1998 Contrast, San Antonio Art League Museum, San Antonio, USA 1997 Tresproyectos Latinos, Austin Museum of Art, Austin, USA
1997 Texas Dialogues: El Paso, San Antonio, Blue Star Art Space, San Antonio, USA 1996 Southwest “96”, The Museum of Fine Art, Santa Fe, NM 1995 Evocative Object, Arlington Museum of Art, Arlington, USA 1995 Coming Home, Laredo Center for the Arts, Laredo, USA 1995 Peter Glassford & Ethel Shipton, Foster Freeman Gallery, San Antonio, USA 1994 Installations: Sue Belvins & Ethel Shipton, Redbluff Rd., Austin, USA 1992 Ethel Shipton & Melanie Smith: Studio, Santa Catarina, Mexico 1991 Austin Annual, MexicArte Museum, Austin, USA 1990 Assisted in the production of artists Michael Tracy & Eugenia Vargas collaborative work, Sacrifices II: THE RIVER PIERCE, San Ygnacio, USA 1990 One Night Performance & Installation, Eastwood Park, Austin, USA Curatorial projects 2002 Co-curator: 3, Parchman Stremmel Gallery, San Antonio, USA 2001 Co-curator: Here There, Blue Star Art Space on Alamo Street, San Antonio, USA 2000 Director of The Project Room Space, San Antonio, USA Collections Beverly Adams, Phoenix, USA
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Clockwise from top left: Red & Blue Broad, 2002, vinyl & wood, 1’ x 2’; Blue and Red Ramp, 2001, vinyl & wood, 2’ x 3’; Artpace Windows installation, 2007, vinyl drawing, 6’ x 12’; Highway 4, 2006, graphite on paper, 8”x 5”; Highway 2, 2006, graphite on paper, 8” x 5”; Phone Highway, 2006, graphite on paper, 8” x 5”
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SKART
Nominated by Sinisa Mitrovic I nominated SKAR T because quietly yet persistently , they reinvent the ways of how we think about ar t. Sinisa Mitrovic is an independent curator and critic based in Glasgow.
Group activities 2000-2006 Horke_kart, 45-members choir and orchestra, formed without any talent-checking; over 100 performances; still active (from 2007 self-organized under name Horkestar) 2000 (ongoing) New (Unloyal) Embroideries, encouraging women embroidery groups (Single Mother's Associations, refugee women, village networks, fired workers) for self-created home-made production 2002 (ongoing) Mekanika Popular, new-inventions workshops with kids and music bands; in the frame of SEAS project 2000 Your Shit - Your Responsibility, civil disobedience production
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SKART was founded in 1990 in Belgrade. www .skart.org
2000 (ongoing) The groups production was transformed into long-term risks of questioning and developing new collectives and networks (as above) 1999 Art Activism Against Violence (Warning Kit) 1997-1999 Print-Action (Survival Coupons) 1996-1997 Print-Action (Permits for free walkings in all directions) 1994-1995 Print-Actions (Accused; library Closed) 1993 Hard-choir-musical (Armatura) 1991-1992 Poetry actions, graphic design (Sadness) 1990 Poster attacks; radio-action; self-published bookart editions (Nothing for beginning) 1990-2000 During the first 10 years of the groups formation, during the '90s war in Yugoslavia/Serbia, the
group (in permanent collaboration with other artists and non-artists) realised various works as direct critic to social/political surroundings (see above) Group exhibitions 2006 Gwangju Biennale, South Korea 2005 Collective Creativity, Kunshalle Fredericianum, Kassel, Germany 2004 Flipside, Artists Space, New York 2003 Real Utopia, Rotor Gallery, Graz-European Cultural Capital, Austria 2002 Design Biennale, St. Etienne, France 2001 Collective Distribution 01, Akademie Schloss Solitude, Stuttgart, Germany 2000 Manifesta, Ljubljana, Slovenia
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Clockwise from left: Please, tell me to whom war will bring a new spring-bloom?, 2000 ongoing, lyrics: SKART + Single Mother's Association (SMA), Zemun, Serbia, drawing: Dusica Tomic (SMA), embroidering: Antonija Baki (SMA), Zemun, Serbia 2000. Photograph by Branislav Tomic; More condoms, less cathechism, 2000 ongoing, lyrics: Women in Black (WIB), feminist anti-war group, formed 1991 in Belgrade, Serbia, inspired by SKART's embroideries, drawing + embroidering: Dragica Milenkovic (WIB), Zajecar 2003. Photograph by Branislav Tomic; AVTOBUS, 2003, selfpublished library Nothing for Beginning, (picturebook based on new habits in Kaliningrad, Russia), Belgrade (for the SEAS project)
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Clockwise from top: In the factory – silent, on the street – riot, 2000, ongoing, lyrics, drawing + embroidering: Lenka Zelenovic, single mother, fired worker, (ex SMA), Belgrade, Serbia, 2006. Photograph by Branislav Tomic; SKART's-choirand-orchestra, 2000 ongoing, action on Kalemegdan for tress, Belgrade, Serbia 2006; Choir live in Rijeka, Croatia 2006. Photographs by Branka Nadj; Your shit – your responsibility, 2000, civil disobedience action and production, Belgrade
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ANDREA THAL Nominated by K3
Andrea Thal’s artistic practice focuses on the legacy of women in music. Various exhibition projects include collaborations with female bands and musicians from the late 1970s and early 1980s to the present. In her installations based on records, text, photographic documents and live-acts she explores the capabilities of pop culture, the potential of the re-interpretation and possibilities of alternative historiographies. Thal researches into a unique concentration of female music performers in this time; it was then that the female rock singer first came into life, breaking with all former clichés. K3 is an artist-led studio and project space in Zurich, and is run by Clare Goodwin, Sandi Paucic and Oliver Kielmayer . Andrea Thal was born in 1975 in Switzerland. She works and lives in Zurich.
Education 2000-2002 MA, Slade School of Fine Art, London 1993-1999 University of Art & Design Zurich Group exhibitions 2007 Was Macht die Kunst, Ankäufe der Stadt Zurich 2001-2006, Helmhaus 2006 Godzilla - A Japanese Love Song, 3er Raum, Kunsthalle Winterthur (in collaboration with Mother’s Ruin and G-RIZO) 2005 Das Ah Riot, Stipendienwettbewerb des Kantons Zurich, F+F (in collaboration with Bush
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Tetras and Namusoke) 2005 Das Ah Riot, Unruhe, Bitte!, Theaterhaus Gessnerallee (in collaboration with Bush Tetras and Namusoke) 2005 Girls Have Rhythm, Friends Electric! Binz39, Zurich (in collaboration with Unknown Gender and Mosh Mosh) 2004 I Almost Feel Like Doing It Again, K3 Project Space, Zurich (in collaboration with KUNST) Andrea Thal also runs Les Complices* Espace Libre & Edition, a Zurich based artist run space
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Above: Namusoke performs her interpretation of Bush Tetras “Das Ah Riot” live at Gessnerallee, 2005, Zurich; left: Girls Have Rhythm, 2007, Installation, Helmhaus, Zurich
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Above: I Almost Feel Like Doing It Again , 2004, K3 Project Space, Zurich; left: Dubplate live-cut by Jvo Studer, 2005, Binz39, Zurich; right: Centre fold of edition in collaboration with Unknown Gender (Vivian Stoll, Lynne Messinger, Cindy Rickmond). Photograph by Peter Grochot; far right: Dubplate with live-cut of Mosh-Mosh’s interpretation of Unknown Genders’ “Girls Have Rhythm” from 1982
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ANDREA THAL
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FRANCISCO UGARTE Nominated by OPA (Office for Art Projects)
Francisco Ugar te’s work, well known locally , is an expanded and intelligent reflection on space and perception. Since 1998 he has shown it in art museums and art centres in a number of countries. His reflective action expresses itself in a paradox: the distance and apparent coldness of his works, that contrasts with the emotive impact generated in the viewer . We find par ticularly interesting his fascination for using and representing the uncertain and fortuitous dynamic of light and its impact on spatial perception. He creates space-work under the equation of silence and depth, that invites us to experience (a ground of) elementary disposition of perplexity and astonishment. OPA is a center for visual arts diffusion, documentation and production in Guadalajara, Mexico.
My work responds and shows the context’s analysis, perception, and possibilities. Francisco Ugarte was born in 1973 in Guadalajara, Mexico, where he lives and works.
Above: Landscape 3, 2002, video projection on wall, installation view, Centre Culturel du Mexique, Paris; right: Untitled, 2004, mirrors and black painted steel, 750 x 635cm, site specific installation, Cabañas Cultural Institute, Guadalajara, Mexico; facing page: Untitled, 2003, digital print, 4mm glass sheet, and white wood frame, 152 x 84 cm
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Education 1993-1998 Western Institute of Superior and Technological Studies (ITESO), Guadalajara, Mexico, Architecture degree 1994 Fine Arts Academy, San Miguel de Allende, Gto., Mexico, Photography degree 1993 ARS Grammatica Institute, Florence, Italy. Art and Architecture History degree Solo exhibitions 2006 Translucent, Clemente Orozco Home-Museum and Workshop, Guadalajara, Mexico 2001 Four rooms, Arena Mexico Gallery, Guadalajara, Mexico 2000 Zapopan Project, Zapopan, Mexico Group exhibitions 2006 Limbo or the Milieu’s Comfort. Carrillo Gil Museum, Mexico 2006 Asymmetric, Affinities and Discrepancies/ Collective Artistic Actions, Guadalajara (1946-2006), Cabañas Cultural Institute, Guadalajara, Mexico, curated by Carlos Ashida 2006 Sequences, A Show of Contemporary Architecture from Jalisco (1996-2006), Cabañas Cultural Institute, Guadalajara, Mexico, curated by Carlos Rodriguez 2005 Mental Drift, Video cycle, Tamayo, Contemporary Art Museum, Mexico City 2005 Biennial Design Exhibition, Jardines de
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Ibirapuera, Sao Paulo, Brazil 2004 23 zones, Cabañas Cultural Institute, Guadalajara, Mexico 2004 Small pieces-large spaces, Galerie Occurrence, Montreal, Canada 2004 Emerging Panorama, during the 4th Iberian and Latin-American Architecture Biennale, Lima, Peru 2003 Cold Skin, Carrillo Gil Museum, Mexico City 2003 Mexico Illuminated, Reading PA, USA 2003 Jetset, Museum of Installation, London 2003 Cold Skin, Centre Culturel du Mexique, Paris 2002 Sauvage, La Panaderia Gallery, Mexico City 2002 A place in another place, Centre Culturel du Mexique, Paris 2002 Intangible, Casa ITESO-Clavijero, Guadalajara, Mexico 2002 Seven Dilemmas, Dialogues within the Mexican art, Modern Art Museum, Mexico City 2001 Recovery Room, Carrillo Gil Museum, Mexico City 2001 Recess: Four Artists from Guadalajara, Enrique Guerrero Gallery, Mexico City 2000 Against the Wall, Puerto Rico’00 Festival, San Juan, Puerto Rico 2000 Jet Propulsion, Museum of Arts, Guadalajara, Mexico 2000 Second sound art festival, Humor and
Encouragement, Ex Teresa Museum, Mexico City 1999 Video Exhibition, Ex Teresa Museum, Mexico City 1999 Look-Look, with the INCIDENTAL Group, Guadalajara, Mexico 1999 Incidental Television, with the INCIDENTAL Group, Televisa de Occidente, Guadalajara, Mexico 1999 The Quest for an unconquered place, Ex Teresa Museum, Mexico City 1998 Incidental, with the INCIDENTAL group, Guadalajara, Mexico 1998 Domestic, with the INCIDENTAL Group, Guadalajara, Mexico 1997 Works on the ground, Vallarta 1085, Guadalajara Mexico, curated by Guillermo Santamarina Awards 2001 Work selected for the Biennial Exhibition of Monterrey, collective work with EL CHINO, Guadalajara, Mexico 2001 Work selected for the October’s Hall Grand Omnilife Award, Guadalajara, Mexico 2001 Honorable mention, Biennial Architecture Exhibition of Guadalajara, House category, Guadalajara, Mexico. Collaborative project with J. Antonio Ramirez (LOGA) 1996 Honorable mention, Students’Housing contest, Western Institute of Superior and Technological Studies, Guadalajara, Mexico
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Top left: Untitled, 2005, 6mm glass sheet, installation view; above: Untitled, 2006, 6mm glass, 4 light bulbs (1000 watts each), sheetrock and white painting, site specific installation, Clemente Orozco Home-Museum and Workshop, Guadalajara, Mexico; left: Fog, 2006, video, 5â&#x20AC;&#x2122;07â&#x20AC;?; right: Untitled, 2002, wood, blinds, and light bulb (60 watts), 210 x 210 x 210cm, installation view, Braziers Park, England
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MICHAEL VAN DEN ABEELE Nominated by Dieter Roelstraete
A 33-year old native of Brussels (home of a distinct aesthetic clearly discernible in the man’ s work), Michael V an den Abeele is a master of deadpan caustic wit; his drawings and crude digital animations marry the great tradition of Belgian surrealism (Magritte to Broodthaers) to a bleak view of the world – as befits the world we know and inhabit today . Many ar tists have tried their hand at designing flags, but Van d en A beele’s a ppositely t itled Birth o f a N ation (the Belgian flag in three depressing, or stoic, shades of grey)
tops them all; it definitely deserves more hoisting. Dieter Roelstraete is curator at the Antwerp Museum of Contemporary Art MuHKA, editor and writer. A friend once told me a terrible nightmare he had the night before. In his dream, the end of the world was announced. Everybody had to go home, and wait. Michael Van den Abeele was born in 1974 in Brussels, where he lives and works.
Left: Concrete Ashtray, 2006; right: Birth of a Nation, 2003
MICHAEL VAN DEN ABEELE
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Solo exhibitions 2000 Etablissement d’en face, Brussels Group exhibitions 2007 The last piece by John Fare, GB Agency, Paris 2007 Breughel’s View, in collaboration with Arnaud Hendrickx, Mechelen BKSM, Belgium 2007 GHB, VanAbbe Museum, Eindhoven, Netherlands 2007 Second Room, Brussels 2006 Choose Choice, Brakke Grond, Amsterdam 2006 Stereo Night & Ashtrays, le Bonheur, Bxl, Belgium 2005 Ambassador, Public, Paris 2005 Emergency Biennale, MAP, Brussels and Grozny 2004 Shoner Wohnen, B-part, Waregem, curated by Moritz Kung, Belgium 2004 Participation in the international studio pro-
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gram, PS1 Contemporary Art Centre, New York 2004 Visa for 13, PS1 Contemporary Art Centre, New York 2004 Working Ethics, Krinzinger Projecte, Vienna, curated by Philip Pirotte 2004 Brussells tribunal, international colloquium on US-imperialism, Beurschouwburg, Brussels 2003 Viva Romantica, NICC Free Space - KMSK, Antwerp 2003 Split pick up, group project with A. Hendrickx, G. Lester, B. Rebetez & K. Dedecker, STUK, Leuven, Belgium 2002 Le vent à double tranchant, Archetype, Kanal 11, Brussels 2002 Permanent installation at the House of Flemish representation in Paris 2002 Haunted House of Arts, Gallery Outline,
Amsterdam 2002 Paramount Basics (extended), Muhka, curated by Richard Venlet & Moritz Kung, Antwerp, Belgium 2001 Flat Space, architecture & virtual space, de Witte Zaal, Ghent 2001 Parcours d’incidents, de Ateliers, Amsterdam 2001 Prix du Jeune peinture Belge 2001, Palais des Beaux Arts (BOZAR), Brussels 2000 Orbis Terrarum, Plantyn-Moretus museum, Antwerp, curated by Moritz Kung 2000 Bubbles, Centre for Contemporary NonObjective Art (CCNOA), Brussels 2000 3-ness, Museum Dhont-Daenens (MDD), Deurle 1999 JARS 1, curated by Guilaume Bijl, Kunstcentrum-Sittard, Netherlands 1999 Young @ all.ages, Deweer Art Gallery, Otegem, Belgium
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Above: Quit/Smoking, 2005, video still; below left: Friends for Eternity, 2005, video still; right: Untitled, 2006, ink on paper; below right: exhibition view at Breughel's View, 2007
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ERIC VAN HOVE Nominated by Jan Van Woensel
Eric, are you a traveller, a wanderer, a nomad, an expatriate, an expeditionary, a missionary, a lost soul? What are you? First it is important to know that even if I like the word “travel” I would rather use the Spanish verb vacilar, for which John Steinbeck admitted that he was unable to find a proper translation in English. If you say of someone that he’ s vacilando it doesn’t mean he’s vacillating, but rather that even though he knows where he’ s going, he doesn’t actually care about reaching his destination. I’d rather be called an émigré: a sort of migrating fragile traveller that is halfway between self exile, engaged escape, voyage, field trip, and forced holiday . Is the travelling ar tist always somewhere, yet always nowhere? “Always somewhere, always nowhere” is a definition of life. Believing otherwise is foolish. In that sense, you might want to consider me a romantic optimistic pragmatic nihilist. It is often the case that the interest in the journey originates from the environment one grew up in. However , having adventurous parents could as well induce an opposite reaction upon a person’s further life. How did your interest in the ‘elsewhere’ come across? I was born in Algeria the year Bas Jan Ader disappeared and grew up in Cameroon. My passpor t is Belgian, my name Scandinavian, my family name Dutch, my mother tongue is French, and I live in Tokyo. If the travel star ts somewhere, it’s among those facts. I moved from Belgium to Japan because it was far. In that regard, I believe that one of the axioms of my practice is wanderlust. I also felt the need to learn a non-Indo-
European language (in this case Japanese) as of a way to minimise myself linguistically . I must have thought it was a good starting point. What was so hot in Tokyo that you had to go there? I learned Japanese traditional calligraphy from Japanese Master Hideaki N agano. Arrived without language ability , it was a definite hermitic retreat, and my isolation was nearly total. I realise afterwards that it must have been a way to reproduce the circumstances of my family’ s return to Belgium from Cameroon. During my childhood, being a white among my black friends, I thought for a long time of myself as an albino. Or later, after seeing the exposed body of an African corpse slowly turning white, I thought of myself as a sor t of black undead. In some sense the “elsewhere” has always been part of me: it is only natural that I would try to address this in my practice as an ar tist. I am interested in the fact that once we leave our country of origin, we become foreigners. In the USA this term is even more spectacular; over here, I am an alien. Some 50 years ago still, it was a threat to be a “hybrid”, a “half” or a “foreigner” and stories of sufferance based on those notions abounds… But today more and more it seems to me that f oreignness b ecomes i nevitable. O bviously a d irect consequence of globalisation, the number of those that have several passpor ts, cross continental mixed ancestries and must speak a language that isn’t their own, are overpowering the number of the others. If earlier last century Duchamp famously relabelled the spectator placed in the game of ar t as
Solo exhibitions 2007 Communicating Vases: Lokaal01 gallery, Breda, Holland Group exhibitions 2007 Atomic Sunshine, Article 9 and Japan: Ethan Cohen fine arts gallery, New York 2007 30 et presque songes, Stade Couvert Mahamasina, Antananarivo, Madagascar 2007 Camouflash, PATIO Centrum Sztuki, Lodz, Poland 2007 Resonnances, STUK, Museum of Contemporary Art of Leuven, Belgium 2007 Untitled, Toride Art Museum, Ibaraki, Japan 2005 Cantos, Casino Museum of contemporary art, Luxembourg Residencies 2007 UNESCO-Aschberg artist Residency, Darat Al-Funun, Amman, Jordan 2007 Location One artist residency, New-York 2007 Green Papaya artist residency, Metro-Manila, The Philippines 2006 Kolin Ryynänenartist residency, Karelia, Finland 2006 Lijiang Studio artist residency, Yunnan, China 2006 Paradise Art Center artist residency, Tehran, Iran
Above and right: Practicing calligraphy with ink and vodka on snow , 2006, moose winter grazing lands, Swedish Lapland ; top right: Mirrors and copulation are abominable, for they multiply the number of mankind, 2007, installation, Toride Museum, Japan
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a regardeur , meaning that the one that looks at the work actively par ticipates in the creation of the work; today I am interested in pondering the fact of the “regardeur” is becoming a foreigner. Unlike the artists exhibiting in the Salon des Indépendants, I today have nearly as much chances to have a Malayan, Chinese, Danish or T asmanian viewer at an opening in Paris than they had to be French in 1900. I think I understand why Michel Houellebecq stays in hotels and his last novel is titled “The Possibility of an Island.” T oday, a foreigner is inevitably growing inside us. So there are no more strangers; we are all foreigners, insular . I am tempted to question that. Excerpt of an interview. New York, USA – Baguio City, Northern Philippines, January 2007. www.transcri.be Jan Van Woensel is an independent curator, art critic, lecturer and film producer based in N ew Y ork and Antwerp. www.icpa.be Eric Van Hove was born in 1975 in Guelma, Algeria, he lives
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Above: Metragram on a Kinh woman, 2006, photography, Hanoi, Socialist Republic of Vietnam; right: Writing with bananas and waiting for the rhesus monkeys of Swayambhunath Stupa, 2005, intervention, Kathmandu, Nepal; facing page: Human beings learn as much from catastrophes as laboratory rabbits learn about biology, 2006, performance, Mitzpe Ramon, Israel
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ROMAN VASSEUR Nominated by Matthew Poole
I’ve chosen to nominate Roman’ s work for PILOT :3 because his practice opens up intriguing complex spaces of politicity in ways that feel like a cerebral toe-stubbing for liberalist thought. Through rich panoply of methods his objects, films, performances and interventions present fascinating often bloodyminded provocations that show the mysterious, mythological and ritualistic drive to political agency as just that – drive. In earlier works, such as the Cubic Metre of T ransylvanian Earth, a mushroom cloud of fictions erupts from the pregnantly mute work, presenting a vicious origami of intentionality that squirms violently to perpetually eschew its own logic, casting adrift the stability of interpretation and unseating the satisfaction of familiarity. Recent projects, including the Ritualised Death of a Mural Artist, and the new work presented in these pages here, slap
the face of complacency within the founding principles of Western Liberal Democratic thought by pitting its own hyperbolic rhetoric against the logic of its ethical precepts; namely individual freedom and social agency. With all of Roman’s work a hypnotic vampiric spectre seduces us and sweats its way out to parasitise the merest quotidian details that surround us in a miasma of leeching forces. The works set-off cellular osmotic chemical chain reactions that infect the images of the world that form the dense foggy nexus of our relations to one another. This is the immanent violence of the social. Matthew Poole is a freelance curator and lecturer . He is one of the founders and organisers of PILOT. Roman V asseur was born in 1967 in London, where he lives and works.
Education 1991 MA Fine Art (Sculpture), Royal College of Art, London Solo exhibitions 2004-2006 (ongoing) Murder Considered As a Fine Art: The Ritualised Death of the International Mural Artist, Jeffrey Charles Gallery, London; ICA, London, 2005; and East International ’06. 2003-2005 Black Propaganda at Melancholy Ranch, Southern Californian Desert, www.highdeserttestsites.com 2000 (ongoing) 500 Pounds of Common Earth, 1 Metre Cubed, Transylvania to Los Angeles, transported via Vienna, London and Dublin arrived California August 2002: exhibited Raid Projects, Los Angeles; 210 Eleventh Av., New York; Project, Dublin; Austrian Cultural Foundation, London Group exhibitions 2007 One Way Street, Sheppard Fine Arts Gallery, University of Nevada, Reno 2007 Evolution de l'Art, Bratislava, Slovak Republic, www.evolutiondelart.org 2006 FALK, MOT Gallery, London, collaborative publication with exhibiting artist Amanda Beech 2006 I AM THE FLY, FRAC, Marseille 2006 EAST International ’06, Norwich Gallery, selectors Jeremy Deller & Dirk Snauwaert 2006 Little Private Governments, University Gallery, University of Essex, Colchester 2005 Real Estate, Institute of Contemporary Art (ICA), London, one of a series of six shows London in Six Easy Steps 2004 Zoo Art Fair, London, with www.jeffreycharlesgallery.com 2003 Franz West & Friends, Austrian Cultural Foundation, London 2000 Taking Over, Bildmuseet, Umeå, Sweden
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Above: 500 Pounds of Common Earth, 1 Metre Cubed, T ransylvania to Los Angeles, June 2000-Aug 2003 , crated earth installed in gallery of the Austrian Cultural Foundation, London; left: 500 Pounds of Common Earth , Share Certificate - Dublin Share issue
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Above: Black Propaganda at Melancholy Ranch , 2003, action performed and filmed in Southern Californian Deser t; below: The Ritualised Death of the International Mural Artist (designs for ceremony, parade and burial of sacrificed ar tist on east London Estate), 2004; left: When Devolved Power Enters the Fourth Dimension , 2007, nÂş1 from the advanced graffiti series â&#x20AC;&#x201C; fly poster and painted sign
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VADIM ZAKHAROV Nominated by Udo Kittelmann
To me V adim Zakharov’ s entire work is one of the most outstanding ones of his generation. But it needs time to get familiar with it. T ime that many people don’t take anymore because it needs a hard work. So please take your time and your responsibility. Vadim Zakharov’s work is a thousand times worth to get in touch with. Udo Kittelmann is the Director of the Museum für Moderne Kunst Frankfurt (MMK).
Vadim Zakharov was born in 1959 in Duschanbe, T ajikistan (USSR). He lives and works in Cologne, Germany and Moscow.
Left: Eye-patch, 1983, photographs, various sizes available; right: The Artist as a Monument to Utopia, 2005, hommage to Pavel Filonov’s exhibition «Witness of the Unseen», State Russian Museum, St. Peterburg, Pushkin Museum, Moscow
Solo exhibitions 2007 Caramel in Botanical Garden, A late Commentary on Boris Groys's Article, ‘Moscow Romantic’ 2006 Vadim Zakharov, 25 years on one page, State Tretjakov Gallery, Moscow Conceptualism, Contemporary City Foundation, Moscow 2006 Lessons in the Boudoir, Stella Art Gallery, Moscow 2006 The Artist as a Monument to Utopia, hommage to Pavel Filonov's exhibition Witness of the Unseen, State Russian Museum, St. Peterburg, Pushkin Museum, Moscow 2005 Presentation of book Moscow Conceptualism, Galerie WAM, Moscow 2004 Mouse Hunting, with Andrei Monastirsky, Stella Art Gallery, Moscow 2004 The Group SZ, with Victor Skersis, E.K.ArtBureau, Moscow 2003 Projekt und Errichtung Theodor W. Adorno Denkmals anlässlich seines 100, Gebutstages, Theodor W. Adorno Platz, Frankfurt am Main 2002 Nothing New, National Center for
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Contemporary Art 2001 Cults, Prophets, Image, TV Gallery, Moskow 1998 Letzter punkt desVerlegers Pastor Zond, Verlegerstatigkeit 1992-98, Galerie Hohenthal und Bergen, Berlin 1997 Japanisches Heft N 3. Begegnung mit einem Rocker auf dem Christusgrab im dorf Schingo, Provinz Aomori, Galerie Carla Stützer, Cologne 1997 Deadend of Our Time, mit S. Anufriev, ICA Moskau, Obskuri Viri, TV Gallery, Moskow 1996 Hölle(r), Hermeneutik und die auf dem Wasser Sitzenden Group exhibitions 2005 What´s new, pussycat? Museum für Moderne Kunst, Frankfurt am Main 2005 Angels of History, Moscow Conceptualism and Influence, MuHKA, Museum van Hedendaagse Kunst Antwerpen 2005 Russia!, Guggenheim Museum, New York 2004 Privatisierungen (The post-communist condition), Kunst Werke Berlin 2004 Any place any, Macedonian Museum of
Contemporary Art, Thessaloniki 2004 Funny Cuts, Cartoons und Comics in der zeitgenössischen Kunst. Kat, Ausst. Staatliche Galerie Stuttgart, Bielefeld, Kerber Verlag 2003 Berlin-Moskau, Martin Gropius Bau, Historical Museum, Moscow 2003 Moskauer Konzeptualismus, Sammlung Oroschakoff und Sammlung, Verlag, Archiv - Vadim Zakharov, Kupferstichkabinett, Berlin 2002 Babel 2002, National Museum of Contemporary Art, Korea 2002 Chilufim, Israel Museum, Jerusalem, Herzlya Museum of Art 2002 Synopsis 2 –Theologies, National Museum of Contemporary Art, Athens 2001 Milano Europa 2000, The end of century, PAC, Milano 2001 49th Biennale Venezia, Arsenal, Venice 2001 ARS 01, Museum of Modern Art, Helsinki 2000 L‘Autre Moitié de L‘Europe, Galerie Nationale du Jeu de Paume, Paris 2000 Amnesia, New Museum Weserburg, Bremen
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Clockwise from left: Flowers under black screen, 2004, photographs, 40 x 60cm. Courtesy: Stella Art Gallery. Sleeping monkey, 2004. Photograph by Arseni Zakharov. Bauhausthora, 2002, closed and open, wood case with photographs on paper scroll, 64 x 32 x 18cm (open: 60 x 1500cm). Courtesy: Salomon R. Guggenheim Foundation. The History of Russian Art from the Russian Avantgarde to the Moscow Conceptual school, 2004, 350 x 650 x 380cm mixed media. Courtesy: Museum of Modern Art, Frankfurt
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