Jes Brinch

Another Jes Brinch opening...

::::: Wwaaaauuuu :::::

FALKENER PEOJECT:
:::: Opening 3 August in CPH :::: 17 - 21:::

Falkener Project

We love summer at moniquemeloche!

Don't miss our summer show How Do I Look? thru this Sat. July 28th
featuring photographs and videos by Sheree Hovsepian & Heidi Norton, Rashid Johnson, Shana Moulton, and Carrie Schneider.



Next opening: Friday, September 7th from 6-9pm
TODD PAVLISKO
on and on new multi-media exhibition

Upcoming art fairs:
Preview Berlin Sept 29 - Oct 1 -- Carla Arocha/Stephane Schraenen and Shana Moulton
PULSE London Oct 11-14 -- Karen Reimer and Carrie Schneider

Gallery news:
Carla Arocha
Metamorphosis III, L.A.C. Lieu d’Art Contemporain, Sigean, France curated by Christa VyVey Fall 2007
travels to Museo Abello, Barcelona

Justin Cooper
residency, Skowhegan School of Painting and Sculpture summer 2007
Interiority, Hyde Park Art Center, Chicago closes July 29th
residency, performance, exhibition Hong Kong Fall 2007
Rashid Johnson
solo show Dark Matters at James Harris Gallery Seattle http://www.thestranger.com/seattle/Content?oid=267234
MCA Exposed:Defining Moments in Photography, 1967-2007 MCA Chicago closes July 29th
The Color Line at Jack Shainman Gallery NY closes August 3rd
For the love of the Game: Race and Sport Amistad Center at the Wadsworth Athenaeum CT thru Oct 21

Laura Letinksy & Christopher Patch
lobby gallery James Hotel Chicago

Laura Mosquera & Alexa Horochowski
group show Double X: Women Representing Women Visual Arts Gallery The University of Alabama at Birmingham Aug 31 to Oct 7

Karen Reimer
solo retrospective Rochester Art Center, Rochester, MN Oct 13-Jan 6
Raised in Craftivity, Greenlease Gallery at Rockhurst University, Kansas City, MO Fall
Joel Ross
(un)-Building, Mills College Art Museum, Boston curated by Dina Deitsch closed July 29
Lifting:Theft in Art Peacock Visual Arts, Aberdeen Scotland curated by Atopia Projects August 25 - September 29
residency Zygote Press, Cleveland OH summer 2007

Pamela Wilson-Ryckman
Pacific Light: California Watercolor Refracted, 1907 - 2007 Gallery at San Francisco State University Sep 22 - Oct 20
The Landscape of War: Transformation of the familiar San Jose Institute of Contemporary Art opens Nov
residency printmaking San Jose Institute of Contemporary Art Now!

Nos vamos de vacaciones

Lars Worm

New works from Lars, opening Thursday august 9...

Helene Nyborg

..:::Morten Schelde exhibition:::..

Morten Schelde @

Vestsjællands Kunstmuseum

"The Great Fiction Of Science"

Udstillingen er resultatet af kunstnerens deltagelse i Galathea 3-ekspeditionen efteråret 2006. Indtrykkene fra rejsen og omgivelserne på skibet nedfældede Morten Schelde (f.1972) i et stort antal fotografier som udgjorde en slags dagbogsnotater. Fotografierne har dannet udgangspunkt for en serie kæmpestore tegninger, som Morten Schelde i løbet af vinteren har arbejdet på i sit atelier i København. Dertil kommer et forløb af mindre kobbertryk samt en serie digitale prints, hvor Schelde på computer har tegnet hen over fotografierne.

Morten Schelde

The Great Fiction of Science

21. april - 24. juni 2007

Vestsjællands Kunstmuseum

Storgade 9, 4180 Sorø

...:::Mailbox this morning:::...

Mail from: OBEY

Online Auction to Support KET‚s Defense Fund



Shepard has joined many of Alain Ket Mariduena‚s friends in supporting his
on going battle with the NYC courts by presenting an Art Benefit for Alain
Ket‚s Legal Defense. Art will be auctioned off on July 26th and an event
will be held on August 1st in NYC with proceeds going towards the defense
fund.

Alain Ket Maridueña is a publisher, writer, Hip Hop historian, activist and
graffiti artist from New York City. He was charged in New York City courts
(Brooklyn, Queens, and Manhattan) on counts of felony criminal mischief,
possession of graffiti tools, and X., all relating to a search performed on
his home in New York City in late 2006.

Alain Maridueña‚s arrest had come in the context of a growing anti-graffiti
sentiment in city government due to the growing gentrification of New York
City and as part of the Mayor Bloomberg‚s quality of life push, one started
by former Mayor Rudy Giuliani. Alain‚s arrest appears to be politically
motivated attack for his involvement with Marc Ecko and Ecko‚s successful
lawsuits against the city of New York in order to hold a graffiti event and
repealing a spray paint sales ban to 18 year olds. Many consider the charges
against Alain excessive.

Alain‚s court cases are ongoing and his family and friends will be raising
funds to pay his legal defense, setting up public events to educate people
about the incarceration of artists, and providing financial, logistical, and
legal support to Alain throughout his proceedings.

For more information

&

Here...

Kei Takemura

Kei Takemura
"even if we're not together”
1 - 29 September, 2007

Kei Takemura “renovated K.K.'s tea cup” 2007
Japanese silk thread, Italian synthetic cloth, K.K.'s tea cup which K.T.
used at her home, 13 x 12 x 6 cm
Courtesy of the artist and Taka Ishii Gallery



Kei Takemura "even if we're not together" 2007
Japanese silk thread, Italian synthetic cloth, colour print, B&W print which image
was taken by M.B. somewhere in Africa, colour spray, 260 x 530 cm
Courtesy of the artist and Taka Ishii Gallery

Taka Ishii Gallery is pleased to announce our solo exhibition
"even if we're not together" with Berlin-based artist Kei Takemura.
This exhibition is her second solo exhibition with the gallery, and includes
a new installation of four large works (100" x 127") comprised of two layers
of embroidery and photograph/drawing, as well as small sculptures from the
series "renovation."


I made my latest works considering as a motif people who live in parallel time with me.
The scene M.B. saw during his stay in Africa, the coast I saw in Miami.
The room of my friend R.M. who moved to Berlin after January 17th quake.
A destroyed house near my parent’s house.
The scene A.F. saw when he visited his hometown, Abadan.
The scene M.H. saw when he passed through Tel Aviv.
A hundred flowers that my friend, an old German woman E.G. hand-crocheted.

I chose some of scenes from photographs given to me by people I know, scenes in which
I did not participate yet touched my memory, then I overlapped my memory of other places
and times to transform images. By this process, I consciously tried to make a composition
of image and a selection of color which might best serve to embody memories.

Kei Takemura


For Takemura, the act of embroidery is to create a state of being "tentative."
She considers her memory through an objective practice. This state of "tentative"
is embodied in her action and is based on her thought that this status equals the
present state of art. She presents her works as a point of view, as means to find
beauty itself and also as a prompt to consider the relationship between a point
of view and an environment.
When the light falls on photographs and drawings peek through organdy, and
the shadow of embroidery is layered in line, the memory of place is evoked through
the image. The artist's memory does not consist of her memory but interrelated
memories of an other. This traverses a border gradually and evokes universal memories
which may involve unknown people.


Biography
Kei Takemura was born in 1975, Tokyo. Lives and works in Berlin.
2002 Tokyo National University of Fine Art and Music, MA
2004 Berlin Art Academy, Prof. Lother Baumgarten, BA
2004-2007 Agency for cultural Affairs, Japan Scholarship.
2004 Debut exhibition “For dearest You” at Taka Ishii Gallery,
“Kei Takemura” at Galerie Alexandra Saheb, Berlin.
2006 15th Biennale of Sydney, Sydney
Publication: “Takemura Kei in Berlin 2000-2005” (2005, Taka Ishii Gallery)

Takaishii Gallery

DAVIDE ZUCCO (IT)

MOGADISHNI AAR proudly presents the exhibition ”No Tears” by Italian artist Davide Zucco (b. 1981). In 2000 Davide Zucco received an Art Diploma in Graphics and Printing from Istituto Statale d’Arte, Vittorio Veneto, Italy and is otherwise self-taught. Despite his young age Zucco has exhibited in a long range of solo shows, group shows and various festivals.

Ancient and contemporary artistic traditions meet in Davide Zucco’s exhibition ”No Tears”. The show consists of 9 black and white drawings, 5 colour drawings, a large-scale wall piece and an illustrative audio piece. Rooted in the underground environment and its experiments with new artistic crossovers Davide Zucco’s art encompasses an intrinsic passion for drawing, street art, electronic performances but it also reveals his strong fascination of ancient cultures, which gives his show an old-world feel mixed with a modern approach.

The Good and the Bad, angels and demons are played out against each other in an archaic illustrative playground. The formal expression of Zucco’s works leads the mind to religious art from various cultures, which tends to stress a delicate separation of colours and layers and has a refined sharpness in detail as seen in Maya Indian art, Byzantine icons and Gothic murals. The creatures found in Zucco’s works have reminiscences of the demons and monsters that appear in the periphery of religious scripts and in church interiors of the Middle Ages. But Zucco’s art equally connects with the renaissance of the “monstrous”, observable in today’s preoccupation with various forms of Fantasy such as Dungeons and Dragons, “The Lord of the Rings”, “Harry Potter” and so on.

The legends and divinities created by ancient civilizations out of a respect and fear for nature and the incomprehensible, have always fascinated Davide Zucco. This is why the inspiration for many of his creatures is found in ancient statues, which brings a magical and mysterious feel to the artist’s otherwise contemporary aesthetic. The delicate and dark subjects with the intriguing gazes in Zucco’s works wander between the human, the godlike, the ultra terrestrial as a new sort of species, that seems to incarnate the internal emotional struggles, the hopes and fears that we can all find in ourselves, thus connecting ancient civilizations and modern Man.

Mogadishni

Kendell Geers

'Fuckface' - Kendell Geers, 2005
Spray paint on human skull, 22 x 14 x 15cm

David Shrigley`s web

Mr. Shrigley

Wes Lang

Old work, but still cool and very nice works.

....::::Francine Spiegel::::....

Smog, 2007
Francine Spiegel

Oil on canvas
152.5 x 127 cm (60 x 50 inches)

Mail Order Monsters

Peres Projects

::::MARC HOROWITZ:::::

New works from Marc looking very nice.

AMT Gallery

New web from V1

V1 Gallery have got a new website, it looks very nice! It showes a lot of good old shows, I nearly have forgot!

Gallery V1

Jes Brinch

The Old man back @ V1::::::::

V1

Rory Macbeth new works

Statue (Flora) 2003
Mixed Media
190 x 40 x 40 cm




Chromed Vespa 2004
Chromed burned-out scooter
170 x 100 x 65 cm



Throw away 2005
Alabaster, 2 parts
10 x 7 x 7 cm
Unique



Buy 1 get 1 free 2007
Silkscreen
150 x 90 cm approx. each
Series of 5

Heroes and Heroines of Performance Art (collector’s series) 2002
Bronze
25 x 15 x 20 cm ea.
The Bible 1997
Printed paper


Arm 2007
Marble and jesmonite
130 x 20 x 15 cm
Ed.3

Untitled (Fly soup light) 2006
Mixed media
Dims. variable

UNION-GALLERY

STEPHEN SHORE

"The Velvet Years. Warhol's Factory 1965-67"
26 July - 25 August, 2007
Private view: Thursday 26 July, 6-8pm

STEPHEN SHORE
Andy Warhol, the Factory, NYC
1965-1967
black and white photograph
32.4 x 48.3 cm
© Stephen Shore

'One May afternoon when we were filming in L'Avventura, a young kid named Stephen Shore came by to take pictures of us. He'd made a short film that was shown at the Film-Makers' Coop the same night in February as my 'The Life of Juanita Castro' and afterward he'd come over to me and asked if he could come by the Factory - he was taking still photographs and had heard there was a lot going on there.' (Andy Warhol in ‘POPism: The Warhol Sixties,’ Andy Warhol and Pat Hackett).

Celebrated for his groundbreaking work with colour photography in such seminal series as American Surfaces (1972) and Uncommon Places (1973-1979), Stephen Shore is rightly considered one of the most influential photographers to have emerged from the last half of the twentieth century. This exhibition focuses on the period 1965-67 which Shore spent at Warhol's Factory, a time which was to have a great influence on his own work. As somewhat of a child prodigy, Shore had developed an interest in photography from the age of six and by the age of fourteen had already famously sold three of his prints to Edward Steichen at the Museum of Modern Art. In 1965, shortly after an initial request, Shore was invited to take photographs at the restaurant L'Avventura where Warhol was shooting what was to become the film Restaurant. From that time on, Shore spent almost every day at the Factory observing and photographing the many goings-on of a now famous cast of characters - amongst others Warhol himself, Edie Sedgwick, Lou Reed, Billy Name, International Velvet and Paul Morrissey.

The photographs taken at this time not only document the 'golden days' of the Factory before the attempt on Warhol's life by Valerie Solanas in 1968. This was a time when Warhol was making films almost on a weekly basis and Shore was clearly influenced by the laconic nature of these films, Warhol's use of serial imagery and his obsession with recording everything around him, aspects which would take Shore's own documentary photography to a new level. 'I think I learned by observing, not observing him in order to learn, just by being exposed to the decisions and actions he was making. By the end of my stay at the Factory, I found that just my contact with, and observation of, Andy led me to think differently about my function as as an artist. I became more aware of what I was doing.' (Stephen Shore in 'The Velvet Years. Warhol's Factory, 1965-67.' Text by Lynne Tillman).

In a distinguished career that stretches back to his first solo exhibition at the Metropolitan Museum of Art in 1971 (the first to be given to a living photographer), Shore has exhibited widely and is currently Susan Weber Soros Professor in the Arts; Director, Photography Program at Bard College, New York. His retrospective 'Biographical Landscape: The Photography of Stephen Shore, 1969-79' is currently on view at New York's International Center of Photography until 9th September, 2007. Phaidon will publish a monograph on Shore this autumn and 'A Road Trip Journal' in Spring of 2008. Concurrent with this exhibition, ‘Warhol Part 1’ a season of Warhol films at the British Film Institute runs from 7th August to 30th September.

Athens / Emergency Room

Emergency Room

Inaugural Event @ The Box

Hey Everyone! Come on out to the Closing Reception to an Mesmerizing Exhibition by Spandau Parks...RECEPTION is on JULY 19TH at 8PM at THE BOX...977 CHUNG KING ROAD IN CHINATOWN, Los Angeles, CA....read more below....

A LITTLE BACKGROUND ON THE EXHIBITION....

The Box gallery opened on June 9, 2007 with an inaugural installation by Spandau Parks. This installation is a project that began on the evening of June 9th with four projections, three onto the walls of the gallery and one out the front window onto the building across the street. The video projections are moving images that closely examine a painting triptych Spandau began in 1975.
It was decided by the artist and the gallery that the piece would not be publicly announced but would run every Thursday, Friday and Saturday night through July 21st. The work was only visible by those who happen to pass by, this included those who live and work in the neighborhood and occasional visitors to the arts scene surrounding the gallery. Spandau uses the gallery space as a working space, allowing him to change and develop the project throughout the course of the exhibition; the exhibition is art in flux. One of the changes that Spandau made was to project a video he made on June 9th of the video installation. This video includes people inside and outside the gallery, which create shadows and reflections throughout the space. The video is a video, of a video installation, of a painting triptych come alive through movement on structure walls.
Along with the videos, the artist began photographing the video installation; there are now over 1,000 images. He began printing the photographs of the video installation and placing on the walls of the rear gallery, out of public view. By placing still images of a three-dimensional video installation, Spandau has brought the work back to its original two-dimensional form.

On July 19th, the gallery is hosting a PUBLIC Closing Reception. What you will see at the closing event on July 19th, is a piece that began on June 9th and has continued to develop into an amazingly complex and cyclical group of pieces that has yet to be seen in its entirety by the public.

JULY 19TH 2007
8PM
977 CHUNG KING ROAD
CHINATOWN, DOWNTOWN LOS ANGELES
CA, 90012
213 625 1747
mara@theboxla.com


The Box is an alternative gallery, incorporating the voice of the artist and the public.
The Box aims to push the concept of an art gallery, viewing it as a place of thought and education.

Mara McCarthy-Gallery Director

(BY THE WAY IF YOU KNOW OF ANYONE WHO MIGHT NOT HAVE RECEIVED THIS ANNOUCEMENT, BUT MIGHT BE INTERESTED, BY ALL MEANS SHARE IT WITH THEM!!)

What's going on with my friend Alexander.....

Alexander Tovborg´s (b.1983) works give a panoptic view of topical an virtual spaces. Through broken perspectives, manifold ideas and repeated reconstructions, his drawings unfold as sculptural fragments of stories. Tiny bits of stories stimulate larger, bur distanced scenarios. The many blank fields in Tovborg’s images are like undone thoughts that, through his underplayed teasing, function as epilogues to stories with ironic seriousness. An entire gallery of epic figures participate side-by-side with cultural symbols: priests, giants and pilgrims present themselves among churches, castles, cemeteries and special divinities. Holes and wells appear as judgment day allegories, and the lonely cowboy is replaced by a group of suffering people. Equivocal actions are visualized in a sort of frozen glimpse. Tovborg’s cogent imaginations especially focus on ceremonial events, where people are faced with fear, suffering and religious comfort.

Both drawing and sculpture hint at a play with time and space. Present time seems to be on th verge of disaperance, while the future is just about to appear. The fusion of past and future in the present is a recurrent marker of both form and content in Tovborg’s works, and the materials and their shapely collisions are imbued with anachronisms. Thus, mahogany-laminate is mixed with cheap wood; a paper full of holes in plastic is covered in pen drawings and ceramic sculptures are mixed with their original clay-forms. In general, the works seem to expose themselves. The creation process is an intregrated part of the aesthetic, and as the sculptural shape is examined, the functionality is amputated. It thus becomes possible to understand how a mini golf course can be submitted to fantasies about death: as it closes in on itself as a grave, its sports-like function is ironically made superfluous, and its decay becomes a poetical statement. In the same way, space is scanned in minute drawings made of tape, which contain a self-destructive fragilness and grace. Tovborg draws on art historical references without reproducing them as hollow forms. He specially distils the decadent artistic language of the Baroque into his random aesthetic that controls his thematical frame which circle round illusionism and serious voyeurism.

Tovborg’s space can be read as subjective feelings that been transformed into general states of mind. Instead of pointing to an individual narrator, it is the fictive society or the epochs in time that play the main parts. Thus, the identifications is removed and perhaps the distance makes a critical freedom possible. Tovborg constructs a complex observatory that mirrors its own reflection, thus disrupting a clear and concise perception. The scenario contains a burlesque and melancholy impossibility that can remind you of the absurd pleasure you meet in the works of Samuel Beckett and which becomes part of a tale about the backsides of society.

Alexander Tovborg is still a student at the Royal Danish Art Academy, but has already made him noticed in the exhibition scene at several occasions, i.e. through the convincing solo show “I tell you weird tales” at the gallery Bendixen Contemporary.








All the works are from 2007...his is the best!!

See you soon my good boy...

Do you wanne know more about Alx...

Jeppe Hein

Beautifull summer pictures for alle over the world:

Appearing Rooms by Jeppe Hein

Jeppe Hein Studio

New project in DK: Karriere

Bart Michiels Price Increase

Bart Michiels, The Hindenburg Line 1918, The Knoll, 2003
To view more of Michiels' work, please visit our website .
The prices of Bart Michiels' photographs will increase September 1, 2007. Please contact the gallery for further pricing information.
The Course of History by Bart Michiels
At the dawn of the new millennium I had lived for more than a decade in the US since leaving Belgium and during this new political climate, I wanted to reconnect with my European roots. What experience was so European and not American?
For centuries, from Caesar’s legions to the armies of the Nazis, my native country saw war with all its faces : invasion, occupation, terror, chaos, hunger, atrocities, destruction and collapse (of industries). After two world wars, those experiences have shaped what Europe thinks today, still affecting the generations and civilian life in modern Europe.

The photographs in The Course Of History are landscapes of the worst killing fields of Europe, of battles that were turning points in our history, defining our future. My approach to the subject comes from the loss of innocence in nature and the dichotomy of it : beauty and evil. And war is the loss of innocence of men. Though they all have a violent history in common, our perception of these landscapes can be peaceful and serene. So, is our sense of place associated with memory and history and is our understanding of the landscape fraught with misreading?

With little or no evidence of battle left on the land, I tried bringing back reference to it by finding happenstance traces and features on the land that refer metaphorically to combat, such as tractor tracks cleaving through a field of crops like tanks once did (Verdun, Le Mort Homme). At Waterloo, I found in a grass field a patch that was flattened. It was also where Napoleon’s elite troops and cavalry fell on the ridge, sealing the fate of the emperor.
FOLEY GALLERY 547 W27TH ST 5TH FLOOR TEL 212.244.9081 FAX 212.244.9082

Patronmail

Fuse Gallery

Klaus Weber

The Big Giving, 2007

Festival Terrace, Southbank Centre
14 July - 14 October 2007

Drinks will be served next to the fountain on Festival Terrace on
Friday 13 July from 6pm followed by Klaus Weber in conversation with Hayward Director, Ralph Rugoff, from 7pm in Level 5 Function Room at the Royal Festival Hall.

In Klaus Weber's work The Big Giving a group of male and female figures are cast rising out of, or simultaneously sinking into, volcanic-looking mounds of rock. Water gushes continuously from the mouth of one, the eye of another and the genitals of a third, suggesting an abundant outpouring of bodily fluids. The title of the work, The Big Giving, refers to the native North American potlatch ceremony, in which the host's status increases the more he or she gives. Weber's fountain physically plays out this excess of giving and receiving, as the water gushes from one figure to another.
Read more about the exhibition.

Read More about the exhibition

Klaus Weber: Artist's Talk
Friday 13 July, 7-8pm (post-reception)
Level 5 Function Room
at the Royal Festival Hall
The event is free but booking is recommended. Please contact the box office on 0871 663 2519.

Gardar Eide Einarsson:

„South of Heaven“
July 27 – September 16, 2007

Press conference: July 26, 11 am
Opening: July 26, 7 pm

“South of Heaven” is the first major solo exhibition by the Norwegian artist Gardar Eide Einarsson, who is based in New York. The title for the exhibition “South of Heaven” is taken from one of his key works, a video piece from 2003. The exhibition occupies the three floors of the Frankfurter Kunstverein and presents a large new body of works together with some older pieces as well as all video works produced by the artist until now.

Wrong behaviours, illegal practices, suspicious objects, and corrupted minds come closer to the viewer in this exhibition. The flags, the painted signs, the icons, the direct intervention in the wall with a black marker, the graffiti, they are all realized in a very depurated and stylish aesthetic language. They share a sober elegance that contributes even more to intrigue the viewer. One cannot help wondering about the origin and the function of this personalized catalogue of images.

Gardar Eide Einarsson uses a great variety of media in his works: painting, prints, photography as well as installation and video. The works of Gardar Eide Einarsson are paradoxical and have a quality of low visual density. That is, in the images and the spatial arrangements, all elements seem like fragments of a bigger reality removed from the world outside and dragged into the image and exhibition space. Using what at first sight looks like a very depurated formalistic language the artist poses to the viewer the question of what he really is looking at. By absorbing and then isolating motifs from the so-called underground music and from literature scenes and then weaving them together with political references, Gardar Eide Einarsson forces us to reflect upon the difference between contemplating an image and using it.

“All images employed by the artist were originally involved in the production of effects of power in one way or another and debate the collapse of the social democratic security”, as critic Jonas Ekeberg attempted to define Gardar Eide Einarsson’s work. Thus Liberty, 2007 depicts a red flag with a half moon, or Untitled (American Flag), 2007, an inkjet print on plywood, shows the American flag ready to be used, ready to add a personalized text. The series of Outlaws logo paintings (2004-2005), displayed on the floor, constitute a strange family album of signs ready to be used by a dubious gang. Their aesthetics convey the spirit of the conservative American south state movement, an interest, which also pops up in Conservative, Traditional, Ultra Traditional, 2005 a photographic work by Gardar Eide Einarsson in which a series of sleeves and bottoms of white-collar politicians appear in the image like a syntax of sartorial conservatism.

Thus “South of Heaven” on one hand is intended to familiarize the viewers with Gardar Eide Einarsson’s very particular and personal way of investigating different media and materials. On the other hand it discovers the way art can serve to emphasize transversal readings, sourced from street culture and politics. In the works of Gardar Eide Einarsson art and reality come into a relation of mutual resonance and exchange rather than of representation. The artworks in this exhibition have been chosen with the intention to present a working methodology as well as to use the exhibition as a framework for the viewer to engage in the tension that exists between the world of images and the world as a place where action can take place, where violence is more than an image.

In Underworld, a novel by the American writer Don DeLillo, one of the characters mentions how, “Lately, geography seems to have gone back on itself and become smaller.” Each of us assimilates only a part of the world that surrounds us, trying to escape from the density of an accelerated multitude of sensations. When withdrawing one only takes in a small portion of what is happening around us and thus almost automatically adapt to move around our individual realities. This is our way of shrinking our geography so that the world takes on a form, which is attainable and manageable. Gardar Eide Einarsson’s exhibition can be seen as a world in which we can move with absolute freedom, conscious that we are in control of the situation and it is not the situation that controls us. This maxim regulates our expectations regarding what surrounds us. Even if the situation can dramatically change once we pass through the exit door…



With kind support from:
OFFICE FOR CONTEMPORARY ART NORWAY

Frankfurter Kunstverein
Steinernes Haus am Römerberg
Markt 44
D-60311 Frankfurt am Main
Tel. +49 (0)69 219 314 0
Fax. +49 (0)69 219 314 11
post@fkv.de /

FKV.DE

Opening hours: Tue-Sun: 11.00-19.00

::: Vilma Gold :::

-- Vilma Gold | Michael Stevenson - Opens Thurs 12th July 2007 --

-MICHAEL STEVENSON-
Answers to Some Questions About BANANAS

Friday 13th July - Sunday 12th August 2007
Opening - Thursday 12th July, 6-8.30pm
Gallery hours - Wed-Sun, 11am-6pm
Vilma Gold, 6 Minerva Street, London E2 9EH | +44 (0)20 7729 9888

:::::New works:::::

-Awesome new works from Tyler Drosdeck-

Faded Paper
2007
Colored Paper and plaster
5 x 4 x 3 inches

Untitled 2
2007
Acrylic on canvas
17 1/4 inches diameter

Untitled 3
2007
Acrylic on canvas
17 1/4 inches diameter

Untitled 4
2007
Acrylic on canvas
17 1/4 inches diameter


Untitled (Marbles)
2007
Acrylic on wood panel
27 3/4 x 43 1/2 inches

Newman Popiashvili Gallery

Interview: Chris Johanson

Chris Johanson at Messezentrum Basel
[10. juli 2007]

Chris Johanson (b. 1968) organizes his colorful paintings in installations, where each painting connects with, and influences, the other. Working primarily with recycled materials, Johanson at the same time seems to be part of a major trend in the art world. For Johanson, though, this is not only a little fling with political correctness. Working with scavenged materials has been part of his artistic practice, since he began working as an artist. Represented various places at this years fair in Basel, and with a big painting installation at the Art Unlimited, the artist is a happy person: he has a mission, he would like to share with a broad audience.

Ai Weiwei (CN), Carl Andre (US), Kutlug Ataman (TR), Bluesoup Group (RU), Mel Bochner (US), Alighiero e Boetti (IT), Mathieu Briand (FR), Christoph Büchel (CH), Daniel Buren (FR), Alexander Calder (US), Cao Fei (CN), Bruce Conner (US), Sebastian Diaz Morales (AR), Omer Fast (IL), Claire Fontaine (FR), Carlos Garaicoa (CU), Katharina Grosse (DE), Kristjan Gudmunsson (IS), William Hunt (GB), Chris Johanson (US), San Keller (CH), Matts Leiderstam (SE), Ann Lislegaard, Rafael Lozano-Hemmer (MX), Marepe (BR), Allan McCollum (US), Tomas Saraceno, Superflex, Gert & Uwe Tobias (RO), Tatiana Trouvé (IT), Clare Woods (GB), a.o.



Chris Johanson: Untitled, 2007.


You present your paintings in a kind of installation – what is your idea behind that?

The point is, that everything is connected, and that is what I’m trying to show by presenting the paintings in this way. I’m pretty simple; I live a simple life, my brain is simple, and I like to make art that is pretty simple to understand – life is complex enough already. I like to present my information so I feel that anybody, whatever education they may have, can get involved into the art. I don’t want people to necessarily have an art degree to understand my work.

So it’s important for you, that your audience grasp your things?

Yes, it’s important that my art is understandable, on at least some levels, by the common person – and by all types of people...


You both work with abstract and figurative motives, can you explain why?

When you put some figures next to abstract, and you put all the paintings in a row, psychologically you can put the pieces together. For example the abstract, rectangular painting on the one side, has to do with society or systems of governments and socialization. But the one before that is totally abstract, it looks like after the Big Bang, when stardust made the planet. But before humans and animals came into the picture. It looks like a microcosm.


Chris Johanson: Untitled, 2007.

Do you see your paintings as belonging to one installation, or do you also see them separately?

I see them both ways, really. But I like it as a situation. I like the idea that this piece is going to be shown in a museum next year. That’s good to me, because that’s where I prefer to be seen.

So the museum is your favorite exhibition place?

Well, I would say books. I think books, public sculpture and museums are my favorite. Because it’s for more people. I like to do shows in galleries, but the dialogue is different.

You seem very concerned about the dialogue between your art works and your audience?

Absolutely, every time.



How can that relation be fruitful?

Because everything affects everything.



I also noticed that your work in itself reflects a kind of positive feeling – with the strong colors and so on – but then there also is this little dialogue balloon that says: ”We are the rulers”. What does that mean?

That’s about the stupidity of human nature. Because, it’s a bomber, you know. People are fighting all the time: we’re just like animals, but only more sophisticated, so in stead of running in to a bunch of elks and kill it if I were hungry, then because I’m a human I’m more likely to – if I get really irritated – grab a gun and kill a lot of people on a school, or nation to nation, race to race whatever... People are just fucked up!



Chris Johanson: Untitled, 2007.

But still you don’t make a dark and negative art?
No, not right now. But before I certainly did. But I want to be good in the world, and for the world. People have very different attitudes towards art, but this is really how I feel. I really think, that I have to be careful about what I put out in the world. My younger art was a lot more negative, because I was a lot more negative and reactionary. Now I’m mellower, but I know that you can use humor to get into people’s brains, and I want to get into people’s brains.

So do you feel, that you have a mission?

Yes, definitely. To be positive. And to make the world better, not worse. But because I’m a human being, then I am making the world worse. But I’m trying to be cool. I make art that is communicative, and when we make money from our art (Chris Johanson and his wife, red.), we give the money to different organizations, and we give art to art auctions, that are politically where we are. I also make political posters, and now I talk like this in an interview. I don’t know what else to do. I try to figure out more ways to be nice.


Do you as a painter have any references to art history?

Everything that has been made before is in my art. I didn’t go to a regular art school, but I went to a community college. I didn’t graduate from any school, but I took classes in sociology and psychology – I don’t remember a whole lot of it, but I know that’s inside my brain somewhere. Documentary filmmaking and photography, that’s my biggest inspiration, as far as art history goes. And reading...

You told me before about the nature element of your work. There seems to be quite a tendency right now in the art world, to be more concerned about recycling and the ecological systems?

I’m glad, that’s great! I’ve always done al my paintings on found wood, and I’ve always recycled, although there have been phases where I’ve been using new paper. But most of the time of being an artist, I’ve used found paper. I can use wood for one installation after the other, and then keep it. I get it out of the dumpsters, because I can’t create art on new wood, it makes me sick. If I went to a gallery or a museum, and I was supposed to have a show, and they wouldn’t give me recycled wood to work on, then I couldn’t do the show. I’m really in to it. I know it’s a control issue, but I get obsessive about it. That’s my kind of alchemy.... Seeing art that are made out of recycled materials, that has to get into people’s psyche, and if it’s like middleclass and rich people that see it, then it’s going into their lives and filter everything else. If everything that is negative affects people, then everything that is positive affects people. •

Graffiti/Roskilde R.I.P.

Very beautiful piece, made @ Roskilde 2007..

Antonio Paucar

More Info: Galerie Davide Gallo

THE MOMENT YOU REALISE YOU ARE LOST

July 15th - 1st September 2007
Opening reception: Saturday, July 14, 2007, 6 ˆ 9 p.m.

Participating Artists:
Stella Capes | Tomas Chaffe | Gintaras Didıiapetris | Blue Firth | Alfred Johansen | Benoît Maire | Dan Rees / Catherine Griffiths | Mandla Reuter | Hannah Rickards | Yann Sérandour | Tris Vonna-Michell

Curated by Adam Carr

The Moment You Realise You Are Lost is an exhibition that presents the work of 12 international artists of whom are all unknown to a larger audience, particularly in Germany. One of the central aims of this exhibition resides in a desire to resuscitate and rejuvenate a vital objective behind the purpose of exhibition-making: to form a situation which above all fosters the opportunity for discovery. The work of the included artists, however, functions in contrast to ideas of location and detection by rather sharing an inherent desire to conceal these aspects through various means.

Despite being currently situated at an early stage in the development of their artistic positions, or relatively unexposed to a broad range of audiences, the participating artists share in common a rich, erudite and often densely complex articulation of their ideas. Characterised by an aspiration to position the viewer ambivalently yet never to alientate, the included artists focus on a particular performativity with which they seek to foreground the poetic, the fleeting and the unknown, and to be affirmatively suggestive rather than explicit. Their constellations of work embrace a fusion of fact and fiction, truth and false, and thus push for disorientation and an amplification of doubt. Opting to diverge from being entirely solved, found and uncovered instantaneously, these artists choose instead for their works to operate more covertly.

The Moment You Realise You Are Lost brings together artworks that will introduce a speculative inquiry yet offer very few entirely conclusive answers.Some of the included works are marked by traces of performances which have previously taken place, whilst others take on this strategy though wholly belie the precise course of actions that brought them into being; they appoint to disguise themselves within other works on display or recover ideas lost by others. Some works reveal interlaced histories or offer information unknown; they might partly operate outside of the exhibition space, even taking place beyond the scheduled dates of the exhibition. In addition, the installation, set-up, as well as the dissemination of the exhibition, will be premised on and interfered with by a number of the included works unexpectedly. In exploration of this exhibition, it seems like these artists like to entice the viewer for a walk in the dark, in some cases, quite literally.

Adam Carr is an independent curator and writer currently based in London.
For further information concerning the exhibition, please contact the gallery.

Johann König, Berlin
Dessauer Str. 6-7
10963 Berlin
Tel +49 30 26 10 30 80
Fax +49 30 26 10 30 8 11
info@johannkoenig.de

Invitation from Jakob Jensen

Dear friends, i am taking part in a groupshow of photo on the theme
of space overall, please come by for the opening..

best wishes Jakob Jensen


Einladung zur Ausstellungseröffnung
5_architektur + 13_fotografie im helberger 23 ausstellungsraum
am Samstag, 07.07.2007 ab 19:18 Uhr

Im Fokus des 2. Projekts im helberger 23 ausstellungsraum –
5_architektur und 13_fotografie – steht die Auseinandersetzung mit
verschiedenen Erscheinungsformen des Raumes und widmet sich dem
Medium Fotografie. Im Rahmen der beiden Ausstellungen zeigen in Form
von fotografischen Darstellungen, Inszenierungen, Dokumentationen und
Entwürfen 18 Fotokünstler und Architekten Arbeiten zu dieser
Thematik, die zum ersten Mal auf zwei Etagen des ehemaligen
Möbelhauses zu sehen sein werden. Die interdisziplinäre Arbeitweise
vieler der Beteiligten läßt dabei die Grenzen zwischen den beiden
Ausstellungen verschwinden.

Ganz im Sinne von Martin Heidegger "Räumen ist Freigabe von Orten"
führt räumen auch zur Entstehung von Bildern. So finden sich in der
Ausstellung einige Fotoserien, die in leeren und verlassenen Räumen
und Gebäuden entstanden sind – Zwischensituationen, sozusagen
Zwischenräume –, die in Zukunft eine neue Funktion bekommen, in Form
von Abriss durch neue ersetzt werden oder durch andere Umstände ganz
einfach geräumt werden mussten, wie man es beispielsweise in einer
Fotoserie von Cornelia Wruck (Frankfurt) sehen kann, die Aufnahmen in
einem leergeräumten Wohnhaus einer Verstorbenen gemacht hat.
Oliver Heissner (Hamburg) wird u.a. Arbeiten zeigen, die im
ehemaligen Gebäude der LVA Hamburg entstanden sind, das mittlerweile
abgerissen wurde, sowie Aufnahmen der Innenräume des "Sprinkenhof",
ein altes Hamburger Kontorhaus, das nach seiner Sanierung für einige
Tage leerstand. Zum einen Fotografien von Räumen, denen man die
Verlassenheit ansieht, zum anderen Räume, die bald ein neues Gesicht
bekommen werden.
Neben seinen Sternbildern zeigt Jakob Jensen (Berlin) die Arbeit
"Superlandscape": Das Foto bildet das Nylonnetz eines Baugerüstes ab
und mutet auf den ersten Blick doch wie eine Landschaft in Arizona an.
Ivaylo Stojanov (Mainz) sammelt in expressiven Farblichtern die
namenlose Natur, wobei sein Ziel nicht das Erkennen der Natur ist,
sondern der Blick auf ihre Wandlungen.
Nils Netzel (Wiesbaden), Architekt, zeigt Fotografien vom Alten
Finanzamt in Wiesbaden, die mit freundlicher Unterstützung von Prof.
Dr. Thilo Hilpert, Fachhochschule Wiesbaden zustande kamen. Die
Fotoserie beschäftigt sich mit dem brisanten Thema, wie das Land
Hessen mit den eigenen Kulturdenkmälern umgeht. Hilpert: „Das Gebäude
ist ein besonders feingliedriges und komplexes Beispiel für die frühe
Nachkriegs-Moderne in Deutschland - der beste Bau seiner Art in
Hessen.“ Dennoch würde das Land den Denkmalschutz aufheben und es so
der Abrissbirne preisgeben, um einen höheren Grundstückskaufpreis zu
erzielen.
Die Namen der weiteren Teilnehmer sowie die Daten zur Ausstellung
finden Sie unten.

5_architektur + 13_fotografie
Anette Babl (Frankfurt/Main)
Amalia Barboza (Frankfurt/Main) / Lorraine Decléty (München)
baukreis architekten (Frankfurt/Main) / Nils Netzel (Wiesbaden)
Jan Bleicher (Berlin)
Claude Cabri (Paris)
Ilka Götz (Stuttgart)
Oliver Heissner (Hamburg)
Jakob Jensen (Berlin)
Delia Keller (Berlin)
Stefan Mellmann (Stuttgart)
Anja Schlamann (Köln)
Constanze Schwürz (Leipzig)
Sabina Simons (Hamburg)
Ivaylo Stojanov (Mainz)
Gabrielle Strijewski (Frankfurt/Main)
Matthias Thelen (Berlin)
Michael Wagener (Frankfurt/Main)
Cornelia Wruck (Frankfurt/Main)

Eröffnung der Ausstellungen am Samstag, den 07.07.2007 um 19.18 Uhr
Ausstellungsdauer: 08.07. - 29.07.2007 | Öffnungszeiten: Do 18 - 21
und So 15 - 18 Uhr
Ort: helberger 23 ausstellungsraum, Große Friedberger Straße 23
(Hinterhaus), 60313 Frankfurt (Innenstadt)

Kuratoren:
Mia Beck: 49.151 56957422
Coco Hauschel: 49.177 3186539
Michael Wagener: 49.179 4923075

Internet:

Herberger23

Gutleut15

Gutleut-Verlag

KunstKoma

Josephine Meckseper, U.S.A., 2007, 74,61 x 21,90 x 21,59 cm / 29.37 x 8.62 x 8.5 inch

The Kunstmuseum Stuttgart is honored to present the first extensive mid-career survey
of Josephine Mecksepers multimedia work. The exhibition will span four floors of the museum. It will be accompanied by a comprehensive catalogue, published by Hatje
Cantz Verlag, featuring essays by Okwui Enwezor and Christian Höller.

Josephine Meckseper was born in Germany and received her MFA from the California Institute of the Arts in 1992. Meckseper is an internationally recognized artist, participating in such recent exhibitions as Resistance Is at the Whitney Museum of American Art, the Second Moscow Biennale of Contemporary Art, Media Burn at Tate Modern, the Biennial of Contemporary Art of Seville, USA Today at the Royal Academy, traveling to the State Hermitage Museum, St. Petersburg, and the Whitney Biennial 2006: Day for Night. She lives and works in New York.

… Josephine Meckseper’s artistic projects have stringently focused on addressing the
politics of power and violence that undergird the current global imperium. Using a wide array of methodologies: film, video, photography, painting, graphic and product design, installation, and architectural fragments, Meckseper has invented an amalgam of displaysurfaces – in reference to both Warhol’s pop ironies and to the rhetoric of negation at the heart of the work of artists as disparate as John Heartfield, Raymond Hains, Asger Jorn, David Hammons, Barbara Kruger, Jenny Holzer – as critical armatures for the interrogation of global geopolitics, protest, contestation, and empowerment. In her sculptures, paintings, films, photographs, collages, and posters, she draws a direct correlation to the way consumer culture defines and circumvents subjectivity, and as such sublimates the key instruments of individual political agency as part of the world of the commodity. Okwui Enwezor, 2007

OPENING RECEPTION

13 July from 7 - 10 p.m.


ADDRESS

KUNSTMUSEUM STUTTGART
Kleiner Schlossplatz 1
70173 Stuttgart
Tel.: +49 (0) 711 – 216 21 88
Fax: +49 (0) 711 – 216 78 20
info@kunstmuseum-stuttgart.de

Kunstmuseum Stuttgart

Wrong Number:

Olaf Breuning, Carter, Delia & Gavin, Luis Gispert, Anya Kielar, Kamau
Patton, Lindsey White (curated by Keegan McHargue)

July 6 - 28, 2007
Opening reception: Friday, July 6th, 6-9pm

The Jack Hanley Gallery, San Francisco, is pleased to present a group show,
titled Wrong Number, curated by artist Keegan McHargue. The exhibit will
include an array of photographic and video work by artists Olaf Breuning,
Carter, Delia & Gavin, Luis Gispert, Anya Kielar, Kamau Patton and Lindsey
White.

Wrong Number brings together eight artists (six individuals and one pair)
all pushing the boundaries of realism through the use of staged photography
and, in most cases, self portraiture. The mimetic quality of the
photographic medium allows for artists to, in a manner of speaking, become
their concepts and concerns while simultaneously calling into question what
or who is being represented. While some of the artists in the show make
their presence known from behind the camera, others put themselves directly
into the work, calling on the audience not only to confront the
representational quality of the artwork but also the artist‚s relative
position to the work. Some choose to address the mundane through the
extravagant while others use the everyday in place of the otherworldly.
Regardless of the means to an end, each of the artists is inserting
him/herself into a greater discourse on the nature of portraiture and, in
particular, the precision or imprecision of the photographic medium.

BJØRN BERTHEUSSEN - THE DOTS...

Falkener Project

::: I'm Back tomorrow :::

I'm at Roskilde Festival....will be back tomorrow!
J-P

::: Invitation from Doug :::

Dear J-P

I hope all is well, and you're having a great summer.
I am doing a live performance at the ICA on Friday July 13 at 7 pm. It's a
completely new show, and should be good for a laugh or two.

Please have a look at the following link for more information:

Tickets are selling fairly quickly, so be sure to contact the ICA soon if
you'd like to attend.
Many thanks, and best wishes,
Doug

An Evening with Doug Fishbone:
A Very Special Friday the 13th

13 July 2007
Who said contemporary art wasn’t funny? Stand-up conceptual artist Doug Fishbone delivers his curious blend of PowerPoint corporate presentation, terrible puns, visual nasties and after-dinner wit, in a lecture that touches on everything from George Bush and the BNP to deep-sea fish and monkeys smoking cigarettes. Conspiracy theories, bizarre philosophical musings, tasteless internet porn and even the occasional poem – you name it, it's in there. For anyone who ever had any questions about anything. Fishbone was selected for the British Art Show 6, was recently named by ArtReview as one of the 'Future Greats', and won the Student Prize for Film and Video as part of Beck’s Futures, 2004.

::: Live Graffiti :::

4000 Roskilde / 1 June 07

No Room for the Groom

An Exhibition with Douglas Sirk
Curated by Gregorio Magnani

Salvatore Arancio
Juliette Blightman
Shannon Bool
Pauline Daly
Felix Gonzalez-Torres
Richard Hamilton
Candida Höfer
Peter Raben
August Sander
Rebecca Warren
Pae White
Jean-Michel Wicker



July 7th – August 5th
Private View: July 7th 18.30 – 20.30

Herald St

2 Herald Street
London E2 6JT
T +44 (0) 20 7168 2566
F +44 (0) 20 7613 0009
mail@heraldst.com
weds-fri 11-6
sat-sun 12-6

Heraldst St.

-Katja Kublitz-

I really like her Passive Aggressive Anger Release Machine!!

Vilma Gold

-MICHAEL STEVENSON-
Answers to Some Questions About BANANAS

Friday 13th July - Sunday 12th August 2007
Opening - Thursday 12th July, 6-8.30pm
Gallery hours - Wed-Sun, 11am-6pm
Vilma Gold, 6 Minerva Street, London E2 9EH | +44 (0)20 7729 9888

Vilma Gold

Nicolas Krupp Gallery

::: Summer:Group:show :::

Gallery Nicholas Krupp

JULIE NORD

Afternoon at the Fringe
22 June - 22 July 2007


"Roommates"

Houldsworth Gallery is delighted to present Danish artist Julie Nord’s first UK solo exhibition Afternoon at the Fringe from 22 June to 21 July. Since completing her education at The Royal Danish Academy of Fine Arts in 2001 Nord has received tremendous national and international success with recent exhibitions at AroS-Aarhus Art Museum, Denmark 21C Museum, Kentucky, Malmö Kunsthal, Creative Center, Shanghai and Singapore Art Museum to name but a few.

Julie Nord’s ink drawings and watercolours have achieved critical significance due to their exploration of a surreal universe. These scenes appear familiar to us through our recollection of childhood literature, a land of fairytales and fantasy, and yet they are darkly resurrected from this period of innocence – appearing almost apocalyptic in their kitsch-gothic reproduction. Nord’s interpretative works create a space between the unquestioning innocence of youth and the cynical awareness that develops from maturity. Still the works remain inherently fictional due to Nord’s play on proportion and caricature style. The viewer is lured into a false sense of security then shocked by the newly sinister scene. The effect is one of entrapment – simultaneously captivating and disturbing. Nord’s drawings conjure a nostalgic past poisoned by the unsettling reality awoken to in adulthood.

Julie Nord has enjoyed global success with major group projects including Through the Rabbit Hole: Sleights of Scale and Flights of Fancy at 21C Museum, Kentucky; Girlpower & Boyhood at Talbot Rice Gallery, Edinburgh; MALM 2 at Malmö Kunsthal, Sweden; Fiction@Love: Forever Young Land at the Museum of Contemporary Art, Shanghai; Ultra New Vision of Contemporary Art at the Singapore Art Museum and Fairy Tales Forever at AroS-Aarhus Art Museum, Denmark. Solo shows include Elsewhere at Mogadishni; The Cycle at la Caixa Foundation, Spain and From Wonderland with Love at AroS-Aarhus Art Museum, Denmark.

Houldsworth

::: peter lav :::

peter lav Gallery

The gallery is closed in July. Next opening will be on August 9 with Danish artist Myne Søe-Pedersen. Please see www.plgallery.dk Venlig hilsen/best regards, Peter Lav peter lav PHOTO GALLERY

::: Lobby :::

Tim Bennett, Peter Joslyn, Matt Johnstone, Magali Reus, Dan Shaw-Town
Lobby

Private view: Wednesday 18 July 2007, 6-8pm
Peter Joslyn, Audaces Fortuna Iuvat, 2007 Oil on board with dartboard 120 x 240cm

Exhibition dates: 19 July - 18 August 2007 Hales Gallery is pleased to present Lobby an exhibition curated by Dan Shaw-Town and Matt Johnstone. This is the second in a series of summer shows where the gallery is handed over to independent curators, artists and in this case fine art students. Lobby includes the work of five emerging artists who have all made works specifically for the show. Tim Bennett, Peter Joslyn, Matt Johnstone, Magali Reus and Dan Shaw-Town are all studying the MFA Fine Art programme at Goldsmiths College, London. Lobby: The anteroom, an eternal state of display, dressed for the first encounter. The lobby is a space of transition and circulation, a temporal sanctuary to rehearse the next appointment. The edifice of waiting, people and objects made equal, all props awaiting activity. It resists clear function, becoming a place where time and reality feel displaced, waiting for us to catch up and carry on. The anti-room. The set. The threshold of responsibility. Tim Bennett trained to be a cook and a stonemason and adheres to a particular artisan aesthetic. He maintains a protestant work ethic and lives and works in Munich and London. In the summer of '99 Peter Joslyn moved to London and in an attempt to express what he calls his ‘liberation’, adorned himself with baroque tattoos and has not looked back since. Magali Reus spent time as a child staring at the fountains of Holland's suburban shopping malls. She soon developed an acute awareness of the media landscape, with their fusions of Eniwetok, Freud and Disneyland. Matt Johnstone travelled to London as the singer in the band Sub-cult. Although the group disbanded in 1999 he continued to develop as an artist. He started his art education in Middlesbrough, Stockton-on-Tees and arrived in London in 2003. Dan Shaw-Town arrived in London four years ago. He has followed a well trodden route, working in numerous jobs as an invigilator in galleries all over the capital, much the same as Dan Flavin and Robert Ryman who worked at The Museum of Modern Art in New York in the late 1950's.

JESICA LOPEZ
101 MáS POWERFUL WOMEN (FORBES, 2006)
05.07.2007 - 25.08.2007

GALERIA ENRIQUE GUERRERO
tiene el honor de invitar a usted a la inauguración de
la exposición de la artista

JESICA LOPEZ
la inauguración se llevará a cabo el próximo jueves 05 de julio
(19:30-22:00 hrs.) en Horacio 1549-A,
entre Solón y F.F.C.C. de Cuernavaca, Col. Polanco
Los esperamos!

GALERIA ENRIQUE GUERRERO
is pleased to invite you to join us to
the opening of the solo show of the artist

JESICA LOPEZ
Next Thursday 5th of July (19:30-22:00)
Horacio 1549-A, (Solón & F.F.C.C. de Cuernavaca), Polanco
Come join us!

See more...