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Dopo il successo della grande mostra tenutasi al MAMbo dal 15 ottobre Photo: Michele Sereni Gilberto
Zorio, Stella Sparks, 2008, alluminio, dieci luci stroboscopiche, dieci
trasformatori Tesla con archi voltaici, fosforo, temporizzatore, h. 500
x 480 x 190 cm. Info MAMbo: www.mambo-bologna.org Galerie Michael Janssen - Berlin  MARIO YBARRA JRGalerie Michael Janssen, Berlin May 1 - June 19, 2010 Opening: Friday, April 30, 6 - 9 pm Saturday, May 1, 10 am - 7 pm Sunday, May 2, 10 am - 7 pm photo: Mario Ybarra Jr., S.A.to L.A., 2009, Ink and acrylic on paper, 70 x 105 cm / 27.5 X 41.5 in During Berlin's art weekend this spring, on Friday, April 30, 2010, Galerie Michael Janssen will be presenting a selection of Mario Ybarra Jr.'s recent works. In his first solo exhibition at the gallery, the American artist will show two installations: Silver and Blacks, a series of works on paper with both abstract and figurative works and an installation with an ongoing activity of Ybarra's studio in which customized t-shirts and hats will be sold. Born in Los Angeles in 1973 and a graduate of the University of California, Irvine, Ybarra's biography is key to understanding his work, which draws attention to forms of culture on the fringe of the mainstream revealing hidden histories within their contexts. His Mexican roots permeate his engagement with the phenomena of contemporary art, street culture and social reality. Mario Ybarra Jr. was brought up in Wilmington near the Los Angeles harbor, where he still lives and works. At a young age he became familiar with the political actions of the dockworkers and their aesthetic sensibility. He belongs to a new generation of artists of Mexican-American descent, who do not reject their identity and origin against a background of social exclusion but embrace both of the trajectories in their backgrounds. Ybarra appropriates and parodies an American mainstream culture that frequently sees itself as hegemonic by fusing low and highbrow culture into critical and ironic installations. In 2002, together with artist Karla Diaz, Ybarra founded the art collective Slanguage which operates through multidisciplinary, non-object-based practices. Focusing on art education, Slanguage has fostered the dialogue about the meaning and value of contemporary art and has cultivated relationships between diverse artists, students, communities and organizations by creating artworks that have ranged from multimedia installations to performances, public events and workshops. Ybarra has won broad international recognition for his site-specific urban interventions that bring to light little-known aspects of a particular location's cultural history, such as his solo exhibition at the CCA Wattis Institute for Contemporary Arts in San Francisco (2007), as well his contributions to the Whitney Museum of Modern Art (Whitney Biennial), New York (2008), the Prague Biennale 3 (2007), the Tate Modern (2007) and the Serpentine Gallery (2006), both in London. GALERIE MICHAEL JANSSEN - BERLIN
FONDAZIONE BANCO DI SICILIA  Il grande ritorno dei “ragazzi della Panaria”Una mostra, due volumi e un documentario per raccontare la nascita della cinematografia subacquea, avvenuta in Sicilia nel secondo dopoguerra con la pionieristica “Panaria Film” LA PRESENTAZIONE IL PROSSIMO 25 MARZO ALLA FONDAZIONE BANCO DI SICILIA Una mostra con fotografie di Fosco Maraini e di Francesco Alliata di Villafranca, che racconta la nascita della cinematografia subacquea, avvenuta proprio in Sicilia nel secondo dopoguerra, la presentazione di due libri sull’argomento, Il principe delle immagini, Francesco Alliata di Villafranca, pioniere del cinema subacqueo, di Gaetano “Ninì” Cafiero (edizioni Magenes-Milano e Libreria del Mare-Roma), e Storia della fotografia e della cinematografia subacquea italiana di Alberto Romeo (Edizioni La Mandragora - Imola, in italiano e inglese), e la proiezione dello storico documentario della “Panaria Film” dal titolo Cacciatori sottomarini (anno 1946, durata 10 minuti) costituto dalle prime immagini professionali realizzate in mare aperto (Festival di Cannes 1947). La presentazione dei volumi e della mostra, promossa dalla Fondazione Banco di Sicilia, è in programma giovedì 25 marzo, alle 17,30, a Villa Zito (in via Libertà 52 a Palermo): Saranno presenti il presidente della Fondazione, Giovanni Puglisi e il Principe Francesco Alliata di Villafranca. Interverrà la professoressa Rita Cedrini (Università degli Studi di Palermo). Parteciperanno Gaetano “Ninì” Cafiero e Alberto Romeo, autori dei due libri: il primo, giornalista professionista, ha pubblicato una ventina di titoli, tutti direttamente legati al mare, tra questi le biografie romanzate del comandante Luigi Ferraro, di Gianni Roghi, grande giornalista e innovatore nell’attività subacquea e questa del principe Alliata. Alberto Romeo oltre ad essere medico è giornalista pubblicista ed esperto di storia delle attività subacquee di cui ha pubblicato due libri e moltissimi articoli, inoltre è stato il primo campione italiano di fotografia subacquea e vincitore di numerosi concorsi internazionali. Ambedue sono Tridenti d’Oro dell’Accademia Internazionale di Scienze e Tecniche Subacquee.  Strychnin Gallery presents in cooperation with C.O.P. magazine:Edge of Love. An exciting new group show curated by Andy Howell (LA Artsprojekt) and Yasha Young. Featuring international street art artists such as Kid Zoom, Beastman, motel 7, Phibs, Yok, Rose Hardy, Amy Matthews, Monique Ligons, Bridge Stehli, Mimi S., Christian Rothenhagen, Amandalynn, Andy Howell, Chris Parks, Ginger Che, Jeremy Forson, Jeremyville, Jesse Reno, Luca Ionescu, SIT, Ma Liang, Brannon, Madi Ju.. Also featuring sculptures by Tim Roosen in the Vault. Opens April 9th at 7 pm. Andy Howell is a professional skateboarder and artist from California (USA). He is the founder of Artsprojekt, a curated platform that enables emerging and established artists to connect, collaborate and expand original art, designs and ideas with fans and consumers. It’s a playground in which the world's most creative individuals and brands can turn unique ideas into dynamic product experiences that best represent each individual artist and brand. Among other famous artists, Andy Howell represents Shepard Fairy, Clive Barker, and David D’Andrea. In cooperation with Strychnin Gallery owner Yasha Young, this alliance is set to be a spectacular one! Originally from Perth Australia, KiD Zoom has become the one to watch in the Australian street art scene. He recently collaborated with Ron English at Worlds End studio in Sydney, producing a limited edition print series. Taking advertisement posters from local bus-stop shelters using an improvised key, Ron and Zoom re-worked these posters to create alternative versions of current ad campaigns. “deerBerlin” – that is how Christian Rotenhagen addresses his native city Berlin. Living there for more than three decades now he has a lot to tell- via graphic-design, illustration, fine art and art installations. His works confront his urban surroundings, the decay, conurbation and agglomeration. The style in which he presents his art is a crossover of design and art in that way he lets his viewers enter in the street life of Berlin. Featured in The Vault this month is sculptural artist Tim Roosen from Belgium. After building the largest artistic scale model of our solar system in the world, Tim Roosen returns to what he likes doing most: figurative art. His latest sculptures are all part of a little universe that he named “the Asylum.” The Asylum is a place for different creatures that have either escaped from the human world or are being hunted down and seek refuge in it. Every creature has his or her own story to tell. In November 2009, Roosen started a collaboration with German photographer Ansger Noeth, who took pictures of Roosen’s creatures. Directly printed on glass, Noeth’s signature technique, these photographs help bring the sculptures to life. Edge of Love. An international group show curated by Andy Howell and Yasha Young. Asylum: Tim Roosen in the Vault with photographs by Ansgar Noeth. Opens April 9th at 7 pm. Runs until May 9 . Opening times: Thursday- Sunday 12 noon - 6 pm Strychnin Gallery Boxhagenerstr. 36 10245 Berlin phone: 0170 - 4161108 pr@strychnin.com www.strychnin.com Gagosian Gallery - Roma  RICHARD SERRA - Greenpoint Rounds - April 9 - May 15, 2010 Inaugurazione alla presenza: Venerdì, 9 Aprile, dalle 18.30 alle 20.30 Nel corso della sua carriera artistica, Serra ha realizzato disegni non come fasi preparatorie per le opere scultoree, bensì come distinti, immediati, ed essenziali percorsi di ricerca nei quali l'intenzione si traduce in segno. I suoi disegni sono vere e proprie esplorazioni, ricerche autonome ed intuitive dai criteri definiti e al contempo parti integranti della ricerca scultorea dell'artista. Serra inizia a lavorare su Greenpoint Rounds nella primavera del 2009. In questi lavori su larga scala, ciascuno lungo due metri per lato, un grande cerchio nero emerge dalla superficie pesante della carta. L'artista usa il "paintstick", un pastello ad olio puro: scaldandolo fino a ridurlo a stato viscoso o addirittura liquido, costruisce lentamente forme dense ed irregolari. Ognuna di queste opere possiede così una propria superficie, risultando struttura tangibile piuttosto che semplice piano, e rivelando un carattere ed una energia individuali. Richard Serra è molto noto per le sue sculture monumentali di scala eccezionale, molte delle quali sono parte di importanti collezioni private e museali a livello internazionale. Tra i suoi recenti progetti si annoverano l'installazione permanente in otto parti The Matter of Time al Guggenheim di Bilbao (2005) e la retrospettiva presso il Museum of Modern Art di New York (2007), a venti anni di distanza da quella del 1986. Nel 2008 per MONUMENTA al Grand Palais di Parigi ha esposto Promenade, un insieme di cinque monumentali elementi verticali in acciaio, ciascuno alto più di quindici metri. Lo stesso anno una retrospettiva di lavori su carta "Richard Serra: Drawings - Work Comes Out of Work" è stata inaugurata presso il Kunsthaus Bregenz. Ad aprile 2011 una mostra itinerante di disegni organizzata dalla Menil Collection verrà presentata presso il Metropolitan Museum of Art di New York, il San Francisco Museum of Modern Art (ottobre 2011), e presso la Menil Collection stessa (marzo 2012). Serra vive e lavora tra New York e la Nuova Scozia (Canada). Gagosian Gallery Rome Via Francesco Crispi 16 00187 Rome T. 39.06.4208.6498 F. 39.06.4201.4765 roma@gagosian.com Hours: Tue-Sat 10:30-7 & by appointment foto: RICHARD SERRA Baldwin, 2009 Paintstick on handmade paper 78 1/2 x 78 1/2 inches (199.4 x 199.4 cm)  INCONTRO CON GLI STUDENTI DI MARSALA Lo straordinario successo riscosso dalla mostra “Tra la forma e l’essere” - cronache di un itinerario 1961 – 2003” del Maestro Salvatore Fratantonio (all’interno del Convento del Carmine di Marsala fino al 21 Marzo), ha portato alla nascita di un’interessante iniziativa che vede come protagonisti gli studenti della bellissima città siciliana: una due giorni in cui il Maestro sarà a completa disposizione dei ragazzi per avvicinarli all’affascinante ma a volte complicato mondo dell’arte e della pittura. Venerdì 19 Marzo dalle 10 alle 13 e sabato 20 Marzo dalle 9.30 alle 11.30 gli studenti del comprensorio scolastico V. Pipitone di Marsala (scuola media, liceo classico e istituto commerciale) avranno l’opportunità di ammirare da vicino le circa 40 opere del pittore siciliano esposte nella sala Cavarretta del Convento e di sentirsi raccontare dalla sua viva voce le emozioni che le hanno originate, dove esse si inseriscono nel suo percorso artistico e le tecniche che vi sono impiegate Appuntamento quindi a Venerdì e Sabato per un’iniziativa innovativa che costituisce un ponte tra il passato e il futuro, tra l’arte e la scuola, tra le domande e le risposte, tra le pennellate e gli appunti … tra lo studio e il piacere di studiare. “Tra la forma e l’essere” - cronache di un itinerario 1961 – 2003” è un evento sponsorizzato da Medipower srl, società di marsala leader a livello nazionale nel settore dei servizi relativi alla fornitura di energia mediante gruppi elettrogeni, e realizzato sotto la Direzione artistica dell’architetto Stefania Bacci di Milano, professionista che ha al suo attivo l’organizzazione di numerosi eventi similari in Italia e all’estero. “Tra la forma e l’essere” dal 27 Febbraio al 21 Marzo 2010 Sala Giovanni Cavarretta, Convento del Carmine – P.zza Carmine, 1 – Marsala Orari: 10-13 / 17-19 aperta tutti i giorni (domenica inclusa) Berlino Artist: Uwe Jäntsch Title: Geld spielt keine Rolle Gallery: Cruise & Callas, Berlin Opening and Event: Fr 26.03.2010, 19 Uhr Show: 27.03.-24.04.2010  Uwe Jaentsch, 1970, Austriaco, che vive a Palermo, apre lasua realtà siciliana d'arte, dal titolo “soldi non c'è un problema”, dove convivono romanticismo e crudeltà, a Berlino. La mostra verrà elaborata su due piani. Al primo piano della galleria dipinti di fiori realizzati a Berlino. Nel seminterrato, 30 metri di lunghezza, 1,9 metri di altezza, una istallazione del Berghof "Grande Sala" con la finestra panoramica che domina Obersalzberg. In loop un discorso leggero della durata di 3,5 minuti come un pezzo di musica pop. Interventi minimi per dare la massima impressione ad ogni visitatore. Cruise & Callas Galerie fuer zeitgenoessische Kunst Kirstin Strunz, Simone Lüling Köpernicker Str. 187/188 10997 Berlin Mi-Sa 12-18 Uhr mob +49 61747818093 tel +49 3027490788 fax +49 3027491788 office@cruisecallas.com www.cruisecallas.com  ALLA GALLERIA DON CHISCIOTTE DI ROMA Architetture industriali, scheletri di ferro, rovine contemporanee che riemergono da una trama di nature vegetali. Sono le «Archeologie» di Roberto Stelluti, in mostra dal 26 marzo al 15 maggio alla Galleria Don Chisciotte di Roma. Una raccolta di venti opere con le quali la galleria romana, diretta da Giulia Collina, punta a riscoprire la straordinaria produzione grafica dell’artista fabrianese. Si tratta in gran parte di acqueforti, unitamente ad alcuni disegni a matita, attraverso le quali Stelluti si fa interprete di una tradizione incisoria, oggi in parte dimenticata, che rimanda ad Altdorfer, Rembrandt, Seghers, Piranesi. «Stelluti non si perde in un infinito cosmico, ma lo ricerca nell’accumulo di componenti di natura vegetale o petrosa, o appunto di oggetti obsoleti … ingloba svariate rovine e relittualità» scrive Enrico Crispolti, curatore della mostra dedicata a Stelluti che si tiene in contemporanea presso il Museo della carta e della filigrana di Fabriano. «Le immagini che ci propone inducono come in una immersione di smemoramento in una situazione di contatto ravvicinato naturale totalizzante …”Incontri ravvicinati”, in particolare in occasioni di natura vegetale, sono quelli che Stelluti propone nelle sue incisioni strepitosamente avvincenti». L’impegno da incisore di Stelluti è iniziato alla fine degli anni Sessanta, quando a Roma frequentava la Galleria Don Chisciotte di Giuliano De Marsanich e scopriva l’opera grafica di Jean-Pierre Velly, Ennio Calabria, Renato Guttuso, Ugo Attardi, Piero Guccione o Renzo Vespignani. «Anche se ha inciso alcuni paesaggi marchigiani, Stelluti preferisce una dimensione di spazialità interna, appunto estremamente “ravvicinata”. Riduce quasi la stessa natura a una prossimità come da spazio interno, da immediatezza di confronto oggettuale. Lavora lentamente, impiegando circa tre mesi su una lastra (e comunque uno su un singolo disegno). E sul proprio lavoro ha un controllo personale totale, giacché stampa da sé, nel suo grande e misterioso studio di Fabriano, circa il 90% delle proprie incisioni, in tirature oscillanti fra 70 e 120 esemplari» (E. Crispolti). Alcune sue incisioni sono state recentemente acquisite dal Gabinetto di Stampe e Disegni degli Uffizi. GALLERIA DON CHISCIOTTE Via Angelo Brunetti 21a-b Roma tel. 06.3224515 Dal 26 marzo al 15 maggio Aperto dalle 10,30 alle 13 e dalle 15,30 alle 19,30. Chiuso lunedì mattina e domenica. www.galleriadonchisciotte.com Gagosian Gallery - New York  TATIANA TROUVÉMarch 25 - June 26, 2010 The work is situated in an open space between matter and memory. This is where I wander and where the construction of a space linked to the development of psychic phenomena is expressed in twists in dimensions and intensities, in combinations that determine changes of pace and place the viewer on the threshold of a physical and mental experience, mobilizing his shoes as much as his mind. --Tatiana Trouvé Gagosian Gallery is pleased to announce an exhibition by Tatiana Trouvé. Acclaimed in France and Europe, this is Trouvé's first major exhibition in the U.S. In her disquieting, dystopic installations, Trouvé limns the boundaries between mental and physical where time, space and memory converge. Her most recent work unites her interest in sculpture, architecture, and drawing in site-specific situations that combine scenographic wall drawings; sculptures in the form of linear abstractions worked in steel, rubber, and leather, or found objects such as bed frames, shoes, machine components, mattresses, and rocks "frozen" in time by casting or embellishing; and oddly scaled built spaces incorporating sealed windows, vents, and passages articulated by windows and angled mirrors. Trouvé depicts eviscerated interiors that echo once-vivid spaces and realities. The resulting "environmental dramas" are melancholy yet highly charged, oscillating between the real, the imaginary and the phantasmic. Although these environments contain no figures, human presence is inferred by sculptural elements resembling prosthetic equipment of various sorts, while time becomes palpable in the mysterious scorch marks and viscous smears on windows and walls. In this exhibition, Trouvé has turned the fifth floor galleries into interrelated zones of transformation and interconnection. The "foyer" to the exhibition is pure mimicry, a bare room equipped with useless cast concrete radiators and simulated wall plumbing. From there, sinuous lines drawn in copper and aluminum lead from floor to wall into large graphite drawings in which detailed fragments of modernist interiors and objects are collaged with partial views of urban or natural landscapes to create disjunctive scenes of inexplicable dread; elsewhere the same lines sweep up and across space, materializing into three-dimensional convulsions of metal wire. An adjacent space is transformed into a giant vitrine, through which one can look from either end but not enter. The volume inside the two windows is partially bisected by another visible egress, indicating an elsewhere to which access is again denied. Diverse yet equally compelling sculptures from Trouvé's recent repertoire complete this strange scenario, including Priapus (2010), a wooden billiard cue laced into a fetishistic leather sheath that leans against a wall apparently scorched by its contact; Untitled (2009) a tangle of miraculously erect electrical cords, plugged into each other to form a closed circuit of pure entropy; Mattress (2009), a massive concrete cast lashed tightly to a pillar and the equally insidious Cushion (2009), stuffed between pillar and wall. Photo: TATIANA TROUVÉ Mattress (detail), 2009 Gagosian Gallery Madison Avenue 980 Madison Avenue New York, NY 10075 T. 212.744.2313 F. 212.772.7962 newyork@gagosian.com Hours: Tue-Sat 10-6 FRANCESCO JODICE Citytellers MAMbo – Museo d'Arte Moderna di Bologna 23 aprile – 6 giugno 2010 Il 22 aprile inaugura al MAMbo la mostra personale di FRANCESCO JODICE che ripercorre l'intero progetto Citytellers,. Il ciclo di film verrà esposto per la prima volta al completo e in anteprima verranno proiettati i due nuovi film ARAL e DUBAI, L'indagine architettonica e antropologica intrapresa con SAO PAULO continua e si apre a nuove declinazioni con le recenti produzioni. L'esposizione focalizza l'attenzione su una parte fondamentale della produzione dell'artista: il film-making. Le opere appartenenti al ciclo Citytellers conservano la matrice fotografica del lavoro dell'artista e al contempo offrono, attraverso l'utilizzo dell'immagine in movimento, la possibilità di percepire una realtà critica distante, spesso poco conosciuta. Ogni film affronta un tema di carattere sociopolitico con frequenti aderenze alla geografia, all'urbanistica e all'ecologia. Lo sguardo obiettivo della telecamera penetra negli interstizi del paesaggio urbano, naturale e umano con forte accento descrittivo. Intrecciando il reportagismo all'inchiesta, lo style documentaire al videoclip, Jodice crea un prodotto diverso, fuori dai canoni visivi abituali. È per questo che i film della serie Citytellers sono stati esposti dentro spazi museali, ma hanno raggiunto anche la distribuzione mass- mediatica della televisione e dei film festival. MAMBO - Museo d'Arte Moderna di Bologna via Don Minzoni 14 - 40121 Bologna tel. +39 051 6496653 - fax +39 051 6496600 ufficiostampaMAMbo@comune.bologna.it  fotografie di ezio Ferreri a cura di claudia moscone galleria X3 - palermo Metropolis/ são paulo si propone come uno sguardo approfondito sul paesaggio urbano della grande città brasiliana così come appare nelle foto scattate da ezio Ferreri nel 2009. São paulo, come tutte le megalopoli, è densa di contraddizioni sociali ed urbanistiche, che si riflettono nel dualismo dello sguardo di Ferreri, che per le sue opere ha scelto di lavorare seguendo due approcci completamente diversi. da un lato, infatti, viene mostrato il volto moderno della città dove i forti verticalismi dei grattacieli contemporanei convivono con gli edifici moderni nati con la speculazione edilizia degli anni '50, ripresi secondo i canoni classici della fotografia d'architettura (fotocamera su cavalletto, correzione della prospettiva verticale con opportuni decentramenti). Dall'altro viene indagata una dimensione più intima degli abitanti di são paulo attraverso la “visione automatica” verso il basso, realizzata senza inquadratura e senza esercitare alcun controllo sulla ripresa, in maniera del tutto casuale mediante l'uso di una fotocamera digitale. I passi segnano l'attraversamento senza meta di milioni di individui immersi in una condizione di spaesamento che la vita nella metropoli inevitabilmente comporta. le foto presentate in questa occasione sono una selezione in anteprima del progetto metropolis/ são paulo/ 2009 di ezio Ferreri. catalogo edito da controluce. La mostra inaugura l'attività di un nuovo spazio espositivo a palermo, la galleria X3, che ha scelto di promuovere iniziative culturali nell'ambito delle arti visive. tali esposizioni avranno la peculiarità di svolgersi solamente nell’arco di tre giorni, caratterizzando la galleria come un luogo dinamico di fruizione dell’arte contemporanea e consentendo un maggior numero di occasioni culturali significative. Inaugurazione 8 aprile 2010 18.30 orari apertura 9/10 aprile 10.00-13.00 17.00-21.00 Galleria X3 via catania, 35 90141 palermo 349 7255856 galleriax3@virgilio.it Ezio Ferreri, [1955 canicattì] vive a palermo. Fotografa dagli anni '70. lavora prevalentemente nell'ambito della fotografia per la comunicazione visiva. ha tenuto mostre personali in italia e all'estero e ha partecipato a diverse mostre collettive. insegna elaborazione digitale dell’immagine presso l' accademia di belle arti di palermo. Drago Artecontemporanea - Bagheria  Fausto GilbertiEsattamente il contrario 12 disegni di Fausto Gilberti realizzati per illustrare un racconto dello scrittore bolognese Paolo Nori. Le opere, tutte disegni a china, saranno esposte a partire da sabato 6 marzo presso i locali della galleria Drago Artecontemporanea. Il volume pubblicato sarà disponibile in galleria e nelle migliori librerie italiane, le prime settanta copie del libro contengono una acquaforte firmata e numerata di Fausto Gilberti. Fausto Gilberti è nato a Brescia nel 1970. Tra le sue esposizioni più significative si ricordano: " Parental advisory" alla galleria Perugi, "Materia grigia" alla galleria 1000Eventi e la recente "Love me fender" a Palazzo Sanguinetti a Bologna. Ha vinto il premio Cairo nel 2007 e il premio ACACIA Miart nel 2004. Per Drago Edizioni ha illustrato, insieme ad altri artisti, il volume "Un sonno senza sogni" di Dacia Maraini. foto : “Esattamente il contrario” Fausto Gilberti Galleria Drago Artecontemporanea -Via Consolare, 177 – Bagheria (Pa) dal 6 marzo al 3 aprile 2010 lunedì/sabato ore 16.30/19.30, domenica ore 10.00/12.30, martedì chiuso Strychnin Gallery Berlin Strychnin Gallery presents:  CHILDHOOD HEROES – Helden der Kindheit: A benefit exhibtion for the children's hospice BERLINER HERZ. Opens March 12th at 7 p.m. Berlin artist Sara Rosenbaum (Tatau Obscur, Berlin) and gallerist Yasha Young (Strychnin Gallery) have joined forces in order to present internationally renowned artists from different fields in a benefit exhibition for the hospice BERLINER HERZ. Presenting over 40 artists from all over Europe and the USA, “Childhood Heroes – Helden der Kindheit” features art works with a great common theme for a good cause: a percentage of proceeds from sales will be donated to support terminally ill children and young adults, as well as their care-takers, through the children's hospice BERLINER HERZ. The ambulant children's hospice BERLINER HERZ is an institution belonging to the HVD Berlin (Humanistischer Verband Deutschlands - Landesverband Berlin e.V.). Its purpose is to provide parents and care-takers of terminally ill children and young adults up to the age of 30 with trained volunteers who make their every-day life easier and thus compliment professional care and pain therapy. This enables all family members to experience a sense of comfort, space, time and strength for the simple challenges of every-day life. The BERLINER HERZ is dependent on the financial and idealistic support of many people in its work. With this unusual benefit project, the initiators of the exhibition, Sara Rosenbaum and Yasha Young wish to offer their support to the hospice so that it can continue its work to stand by families during hard times and provide active support to those in need. Not only will there be many renowned artists at the opening night of “Childhood Heroes – Helden der Kindheit“ but also celebrities from the Berlin cultural scene: among others, the well-known band THE BOSSHOSS has announced its support of the project. Participating artists include among others: Mo Coppoletta (Family Business, UK), Aureole (Wild at Heart Tattoo, AU), Miss Nico (All Style Tattoo, Berlin, D), Nicole & Stefan Eisenhauer (Tattoo-Family-Eisenhauer, Lemgo, D), Swann (Downtown Tattoo, Bremen, D), Walde (Scum-art, Berlin, D), Hentschel (Taka-Tiki, Leipzig, D), Ingo Reinshagen (Viva Dolores Köln, D/ Lonien Tattoo, Trier,D), Oliver Lonien (Lonien Tattoo, Trier, DE), Matthias Böttcher & Sebastian Domascke (Lowbrow Tattoo Parlour, Berlin, D), Andy (Andys Tattoo, Kitzingen, D), Jörg (Akira, Essen, D), Sandor Jordan (Akira, Essen, D), Thomas Krug (New Hope Tattoo Club, Bochum, D), Andi Knospe (New Hope Tattoo Club, Bochum, D), Tobias Sallewski (New Hope Tattoo Club, Bochum, D), Edith (Für Immer, Berlin, D), Iban (Für Immer, Berlin, D), Jan (Für Immer, Berlin, D), Fide (Für Immer, Berlin, D), Sunny Buick (Sunny Buick, FR), Lionel Fahy (Out of Step, on the road), ChÄn (Tatau Obscur, Berlin, D/ Brüssel, B), Saxe (Dirty Rebels, Leipzig, D), Zoe Thorne (Tatau Obscur, Berlin, D), Berit Uhlhorn (Tatau Obscur, Berlin, D), Julia Töbel (Tatau Obscur, Berlin, D), Pete (Times Of Grace, Essen, D), Imme und Andreas (The Sinner and the Saint, Aachen, D), Lea Nahoon (Boucherie Moderne, Brüssel, B/ Art Corpus, Paris, F), Sophie Haza ( Viva Dolor, Lyon, F), Jef ( Boucherie Moderne, Brüssel, B/ Tatau Obscur, Berlin, D), Morgane Jauneau (Sweet and Sour Tattoo, Strasbourg, F), Buddy Olli ( Amazon Tattoo, Oberhausen, D), Peter Bobek (Tribo Tattoo, Prag, CZ), Lukáš Polaček (Tribo Tattoo, Prague, CZ), MUSA (Tribo Tattoo, Prague, CZ), Robert (Art Corpus, Paris, F), Chriss Dettmer (on tour), Karina Figueroa (One Shot Tattoo, San Francisco, USA), Ronny Raida (Iron Cross, Bochum, D), Goran Lazec (Iron Cross, Bochum, D) and others. Childhood Heroes – Helden der Kindheit. Vernissage am 12. März, 19:00 Uhr Dauer der Ausstellung bis zum 4. April Öffnungszeiten: Donnerstag bis Sonntag von 12:00 Uhr – 18:00 Uhr Strychnin Gallery Boxhagenerstr. 36 10245 Berlin Kontakt: Iris Bitter pr@strychnin.com Gagosian Gallery - New York  ALBERTO DI FABIOMarch 18 - April 24, 2010 Gagosian Gallery is pleased to present an exhibition of recent paintings by Alberto Di Fabio. Di Fabio's work is inspired by the fundamental laws of the physical world, as well as organic elements and their interrelation. His paintings and works on paper merge the worlds of art and science, depicting natural forms and biological structures in vivid color and imaginative detail. Throughout his abstract images, he has developed and expanded his interest in the natural world. In his early paintings, he examined the structures of flora and fauna, as well as eco- and astral systems, moving on to the study of genetics, DNA, and the synaptic receptors of the brain, and the realm of pharmaceutical and medical research. In his latest work, Di Fabio investigates the perennial human fascination with the relationship between art and the cosmos, addressing the laws that regulate chaos in the universe, such as the theory of relativity and quantum theory. Di Fabio cites a broad range of influences and inspirations from Italian Futurist Giacomo Balla, to post-war modernists such as Enrico Castellani, Lucio Fontana, and Robert Ryman. Speed of Light (2009), for example, represents light rays in minimal form, meditating on the vastness and infinity of the medium. In this new series, Di Fabio expands his vision into meticulous detail using dots and strips of acrylic paint to interrupt the spatial field of the painting. Each of the multiple centers of the composition serves as both a cognitive and visual cue. photo: ALBERTO DI FABIO Speed of Light, 2009 Acrylic on canvas 19 11/16 x 19 11/16 inches (50 x 50 cm) Gagosian Gallery Madison Avenue 980 Madison Avenue New York, NY 10075 T. 212.744.2313 F. 212.772.7962 newyork@gagosian.com Hours: Tue-Sat 10-6 Gagosian Gallery - New York  ED PASCHKECurated by Jeff Koons March 18 - April 24, 2010 Central to my work is what I refer to as the law of opposites; I believe that there are polarities between things […] Positive/negative, the idea of pacing a painting in terms of complexity and simplicity, the idea of public versus private, are elements that have always interested me and that I've always tried in some way to build into the character of the paintings. --Ed Paschke Ed Paschke taught me what it meant to be a professional artist. His paintings are like drugs, but in a good way: they are among the strongest physical images that I've ever seen. Their effect is neurological. --Jeff Koons Gagosian Gallery is pleased to present an exhibition of the work of Ed Paschke, curated by Jeff Koons. As a student, Koons admired Paschke's work and became his assistant in Chicago in the mid-1970s while attending the School of the Art Institute of Chicago. Paschke would prove to be an important mentor and formative inspiration for the young artist. The exhibition includes loans from key public and private collections in the U.S. and abroad, as well as rarely seen works from the Ed Paschke Foundation. Born in Chicago in 1939, Paschke studied at the School of the Art Institute of Chicago during the height of the Imagist movement in the late fifties, while supporting himself as a commercial artist. He avidly collected photograph-related visual media in all its forms, from newspapers, magazines, and posters to film, television, and video, with a preference for imagery that tended toward the risqué and the marginal. Through this he studied the ways in which these media transformed and stylized the experience of reality, which in turn impacted on his consideration of formal and philosophical questions concerning veracity and invention in his own painting. At the same time, he sought living and working situations -- from factory hand to psychiatric aide -- that would connect him with Chicago's diverse ethnic communities as well as feed his fascination for gritty urban life and human abnormality. Thus he developed a distinctive oeuvre that oscillated between personal and aesthetic introspection and confronting social and cultural values. In his early paintings Paschke both incorporated and challenged depictions of legendary figures by transforming them into corps exquis, such Pink Lady (1970) where he set Marilyn Monroe's famous head atop the suited body of an anonymous male accordion player; or Painted Lady (1971) where he redesigned screen legend Claudette Colbert as a tattooed lady fresh from a freak show. Another direction through which he explored the features and quirks of meaning and logic was in paintings of leather accessories interpreted as anthropomorphized fetish objects, such as Hairy Shoes (1971) and Bag Boots (1972). In the decades separating Pink Lady and Matinee (1987), Paschke shifted his interest from print to electronic media and a dazzling spectrum of televisual waves and flashes began to fill the paintings. Forms and images disintegrated, broken apart in the fabric of electronic disturbance and its surface. In Matinee, the face of Elvis Presley is fragmented into a field of glowing swathes of color with lips and eyes alone suggesting the human presence beneath the electronic overlay. Paschke made use of an overhead projector to layer images, which he then rendered using the traditional and time-consuming medium of oil painting. He began with an underpainting in black and white, then addressed it with refined systems of colored glazing or impasto to enliven the optical and physical textures of his painting. With this original and painstaking process he created a formal parallel with the black-and-white-to-color progression in the historical development of printing, film, and television images, at the same time moving the subject matter from the particular to the non-specific to allow a wider range of interpretation. In his later work, once again forms became more solidified, moving back towards certain kinds of psychologized presences and the edgy tension that characterized his earlier work. Unlike most of his Pop predecessors with their unthreatening embrace of popular culture, Paschke gravitated towards the images that exemplified the underside of American values -- fame, violence, sex, and money – a preference that he shared with Andy Warhol, who was one of his foremost inspirations. Although long considered to be an artist of his own time and place, his explorations of the archetypes and clichés of media identity prefigured the appropriative gestures of the "Pictures Generation," and for a new generation of global artists his totemic, eye-popping paintings have come to embody the essence of cosmopolitan art. The exhibition is accompanied by a fully illustrated catalogue, which includes essays by Jeff Koons and art critic Dave Hickey as well as reprints of important essays by the Chicago critic and art historian Dennis Adrian and New Museum curator Richard Flood. photo:ED PASCHKE Pink Lady, 1970 Oil on canvas 64 3/4 x 51 1/4 inches (164.5 x 130.2cm)  Yeast Culture visuals for live A/V installation featuring original music by Plaid, Ross Adams and Synnøve Persen.Taking place in the amazing space of Trinity Buoy Lighthouse, we have been working to create an ambisonic and visual journey for you to fully immerse yourselves in. The piece is called Nord Rute and the story travels into the nether regions of the indigenous Sámi people of northern Norway, and their age old spring migration across the arctic tundra with thousands of reindeer. Field recording artist Ross Adams has travelled with a Siida – collective of Sámi herders - and sonically documented it using location surround sound recording techniques. The visuals have been created and will be mixed live by Yeast's own animation wizard Nick Corrigan, who has been developing some wonderful glowing visuals to transport you into the world of Nordic folklore and magic. For the performance audiences will be invited to sit or lie on furry reindeer pelts amidst a 4 projector, gauze and 12 speaker set-up. If you can make it BEWARE the Lighthouse has no heating so dress woolly and warm. We can promise mulled wine to stave off the February night chill. 7:30 pm - 27th February. Trinity Buoy Wharf, 64 Orchard Place, London E14 0JW Tickets £12.50 / £15 www.wegottickets.com/event/67929  http://www.bip2010.be/accueil.php Gagosian Gallery - Beverly Hills  ANDREAS GURSKYMarch 4 - May 1, 2010 Space is very important for me but in a more abstract way. Maybe to try to understand not just that we are living in a certain building or in a certain location, but to become aware that we are living on a planet that is going at enormous speed through the universe. I read a picture not for what's really going on there, I read it more for what is going on in our world generally. --Andreas Gursky Gagosian Gallery is pleased to announce an exhibition by Andreas Gursky to inaugurate the newly expanded Beverly Hills gallery, designed by Richard Meier & Partners. In the two adjacent main galleries, Gursky will present a new series of large-scale works as well as a grouping of subjects that he has selected from the last twenty years, from the landscape Műlheim an der Ruhr, Anglers (1989) to the empty scene of Untitled XV (2008). Gursky has demonstrated that a photographer can make or construct—rather than simply take—photographs about modern life and produce them on the scale of epic painting. Just as history painters of previous centuries found their subjects in the realities of everyday life, he seeks inspiration in his observations of the human species in the world, whether firsthand or via reports of global phenomena in the daily media. The resulting pictures have a formal congruence deriving from a bold and edgy dialogue between photography and painting, empirical observation and artfulness, conceptual rigor and spontaneity, representation and abstraction. In pursuit of his aim to create "an encyclopedia of life" Gursky's world view fuses the flux of reality with the stillness of metaphysical reflection. From initially using the computer as a retouching tool, he began exploring its transformative potential, sometimes combining elements of multiple shots of the same subject into an intricate yet seamless whole, at other times barely altering the image at all. Over time his subjects have expanded to map and distill the emergent patterns and symmetries of a globalized world with its consensual flows and grids of data and people, architecture, and mass spectacle. In the new Ocean series, Gursky has for the first time relinquished his position behind the camera to work with satellite images of the world as his raw material, creating contemporary mappe del mondo on a scale befitting the cosmic grandeur of the subject. In their darkly nuanced surfaces, he has worked to reconcile the division between the machine eye and the human eye, continuing the debates and practices begun in the nineteenth century regarding photography and the issue of artistic expression versus objective science. A recent documentary (German with English subtitles) on Gursky and his work will be screened continuously in the rear gallery for the duration of the exhibition. A catalogue in two volumes, with an essay by art historian Norman Bryson, is forthcoming. photo: ANDREAS GURSKY Ocean II, 2010 Chromogenic print 136 1/2 x 98 inches framed (347 x 249 cm) © Andreas Gursky / VG Bild-Kunst, Bonn 2010 Gagosian Gallery Beverly Hills 456 North Camden Drive Beverly Hills, CA 90210 T. 310.271.9400 F. 310.271.9420 losangeles@gagosian.com Hours: Tue-Sat 10-5:30 Gagosian Gallery - New York  DAVID SMITHFebruary 26 - April 10, 2010 Opening reception: Friday, February 26th, from 6 to 8 pm Sometimes when I start a sculpture, I begin with only a realized part, the rest is travel to be unfolded much in the order of a dream. The conflict for realization is what makes art not its certainty, nor its technique or material. --David Smith Gagosian Gallery is pleased to present an exhibition of monumental sculptures by David Smith made between 1962-1964. A pioneer of modernist twentieth-century American sculpture, Smith created these works during periods of intense production in Voltri, Italy, and at his workshop in Bolton Landing, New York. Beginning in 1952, he increasingly conceived his sculptures as distinct bodies of works that shared a thematic basis or a common material. Often he worked on several such series simultaneously, insisting that each grouping be understood as continuous parts of his concept rather than as variations on a theme. The monumentality of the Voltri, Cubi, Primo Piano, and Gondola series reflects Smith's ambition to create sculptures on a scale with the expansive rolling fields surrounding his home and studio at Bolton Landing. In Voltri XVII (1962) and VB XVII (1963) Smith continued his practice of incorporating found objects and materials into sculptures that marry industrial processes with forms inspired by natural phenomena, such as clouds and mountains. In 1962, he was invited to participate in the "Festival of Two Worlds" in Spoleto, Italy. Working at a decommissioned steel factory in nearby Voltri, he created an astonishing twenty-seven sculptures in just thirty days. The surplus metal was then shipped to Bolton Landing where it became the raw material for the sculptures that comprise the subsequent Voltri-Bolton series: VB, Voltron and Voltri-Bolton. Cubi II (1962) belongs to the ambitious Cubi series (1961-1965), in which Smith configured elemental, geometric, stainless steel modules into towering sculptures that evoke associations with the human body and architecture. Conceived to be installed outdoors, the Cubis absorb and reflect the varying light conditions and color of their environment, producing tonal contrasts that are painterly in nature. Smith also continued to explore dissolving the distinction between two and three-dimensional works by painting many of his steel sculptures. In Gondola II (1964), solid planes of dark blue, black and cream function as pictorial and structural elements that seem to recede and advance with subtle authority. The title refers directly to the machine used to lift and position the large steel planes that compose this work. In contrast, the painted white surface of Primo Piano II (1962) unifies its various abstract components, reading as entirely negative space when viewed against the colored backdrop of a landscape environment. Both sculptures move beyond "drawing in space" to become "painting in space" on a grand scale and they contain strikingly disparate perspectives: when viewed from front or back, their volumes are reduced to planes, and when viewed from the side, these same volumes form almost linear profiles. The five works selected from the major series that Smith was working on at the time of his premature death give a concise indication of the depth and range of his vision, and draw the viewer into the poetic relationships between form and space that unify his diverse oeuvre. photo: DAVID SMITH Cubi II, 1962 Stainless steel 130 1/2 x 36 7/8 x 23 7/8 inches (331.5 x 93.7 x 60.6 cm) Photographed by the artist at Bolton Landing Gagosian Gallery West 24th Street 555 West 24th Street New York, NY 10011 T. 212.741.1111 F. 212.741.9611 newyork@gagosian.com Hours: Tue-Sat 10-6 Galerie Michael Janssen, Berlin  Emil HolmerOn Friday, 12th of March 2010 from 6 to 9 p.m., Galerie Michael Janssen will be presenting a selection of Emil Holmer's recent paintings. Dead Letters is the first solo exhibition of the Swedish artist at the gallery. Born in Karlstad in 1975, Holmer studied at the Academy of Arts in Umeå and at the U.D.K. in Berlin, where he was a guest student in the class of Tony Cragg. In recent years, Holmer had several solo exhibitions in Europe, Australia and South Africa. Emil Holmer's paintings are cathartic explosions; axes, spears, wood constructions, body parts as well as abstract geometric forms and amorphous shapes seem to be exploding like fireworks on the canvas or are just heaped up like debris after an apocalyptic video game war. Holmer's works are reminiscent of Graffiti and the avant-garde movement COBRA, whose primary focus consisted of semi-abstract paintings with brilliant color, violent brushwork and distorted human figures. The large format paintings are violent image symphonies, in which the density inherent in every depicted scene creates a blur, straining the viewer's eyes. Drawing on such areas as psychopathology, fear, power, sexuality and the body, Emil Holmer is strongly influenced by pop culture, midway between the horror film and the comic strip. Since the Chaos and Fractal Theory, "chaos" doesn't simply mean "anarchy"but 'a higher order': out of confusion and complexity life emerges as a functioning organism. Chaos displays an innate tendency to form into patterns and structures and it fosters and commands order despite of all forces that act against it. Self-organization is the result of re-invention and creative adaptation due to the introduction of perturbed equilibrium. Holmer's paintings are one example of an organization, which exists in a constant state of perturbation, with irregularities, even randomness in the dynamics of systems considered as "ordered" by the traditional views. foto: EMIL HOLMER - Dead Letters Galerie Michael Janssen, Rudi-Dutschke-Strasse 26,10969 Berlin Tel: +49 (0)30 25 927 250, Fax: +49 (0)30 25 927 2518, www.galeriemichaeljanssen.de IL “NUOVO MONDO” DI MESCHIS IN MOSTRA AL S. BARTOLOMEO DOMANI, ALLE 18.30, L’INAUGURAZIONE DI INVENZIONI CON IL PRESIDENTE AVANTI, L’AUTORE E IL CURATORE Si intotola Invenzioni ed è un lungo viaggio in un “nuovo mondo” di temi e suggestioni, l’ultima mostra del pittore palermitano Renzo Meschis. L’esposizione, promossa dalla Provincia regionale di Palermo, organizzata da “Ars Mediterranea” e curata da Francesco Gallo, verrà inauguarata dal presidente della Provincia Giovanni Avanti domani, 26 febbraio, alle 18.30, al Loggiato S.Bartolomeo (corso Vittorio Emanuele, 25 – Palermo). Saranno presenti l’autore e il curatore. La mostra raccoglie oltre 100 opere, tra pitture e disegni, realizzate negli ultimi due anni. In allestimento fino al 28 marzo e potrà essere visitata gratuitamente dal martedì al sabato, dalle 16.30 alle 19.30; la domenica, dalle 10 alle 13; chiusura il lunedì. “SALVATORE FRATANTONIO - TRA LA FORMA E L’ESSERE ” …  Sabato 27 Febbraio alle 18 si inaugura a Marsala, presso la sala Giovanni Cavvarretta all’internodel Convento del Carmine, la personale del Maestro Salvatore Fratantonio: “Tra la forma e l’essere” - cronache di un itinerario 1961 – 2003”. Nella personale sono esposte circa 40 opere del pittore siciliano (Modica, 1938) che permettono di ripercorrerne il percorso artistico sin dalle origini. Salvatore Fratantonio appartiene alla schiera dei Siciliani che, in età giovanile, si sono allontanati dalla terra natale per coltivare i propri interessi e vi sono poi tornati con un ricco bagaglio di professionalità e successi. L’artista ha infatti studiato e approfondito le correnti dell’arte contemporanea in laboratori romani e milanesi per poi sviluppare una marcata originalità espressiva, molto apprezzata dalla critica e dagli addetti ai lavori, che ha fatto sì che le sue opere siano state oggetto di oltre 100 mostre tra personali e collettive. Sponsor dell’evento è la Medipower srl, società di marsala leader a livello nazionale nel settore dei servizi relativi alla fornitura di energia mediante gruppi elettrogeni. Direttore artistico e curatore dell’intera mostra è l’architetto Stefania Bacci, di Milano, che ha al suo attivo l’organizzazione di numerosi eventi similari in Italia e all’estero e che descrive questo affascinante progetto come la coniugazione del << percorso artistico di inno al territorio siciliano – che da sempre caratterizza le opere del Maestro Fratantonio – con la realtà di Marsala, … è il legame inscindibile tra la Sicilia (il cuore del Mediterraneo) e il centro dell’Europa; la connessione tra la forte tradizione culturale e sociale del sud Italia con la stimolante cultura europea >>. << … Le opere non descrivono ma accennano e riferiscono alla terra e alla sua memoria, sono suggestioni del territorio stesso e cantano lo spettacolo della natura anche quella umana. … In questi paesaggi, in questa natura vivente e morta, … nei nudi e nei manichini, in questa nuova personale pluritematica del Maestro modicano è dunque forte la sospensione tra la forma e l’essere, tra l’intenzione di opera e la sua compiuta realizzazione. Maturando una personalissima stilizzazione del reale, Fratantonio non descrive, allude >>. Queste le parole del noto critico d’arte Elisa Mandarà che sarà uno degli illustri ospiti durante l’inaugurazione della mostra, assieme allo scrittore siciliano Diego Guadagnino. FOTO: Fichi d'India 7 - 1984 china - cm.32x35 “Tra la forma e l’essere” dal 27 Febbraio al 21 Marzo 2010 Sala Giovanni Cavarretta, Convento del Carmine – P.zza Carmine, 1 – Marsala Orari: 10-13 / 17-19 aperta tutti i giorni (domenica inclusa)  Laboratorio Zeta via A. Boito 7, Palermo "Se la guerra è civile" - esposizione fotografica a cura di Letizia Battaglia allestimento e assistenza Maria Chiara Di Trapani Inaugurazione: Venerdì 19 Febbraio ore 18 - incontro con Alessandra Dino Chiusura: Domenica 28 Febbraio ore 18 - incontro con Simona Mafai Se la guerra è civile è il titolo della mostra fotografica curata da Letizia Battaglia, appositamente allestita in solidarietà con il Laboratorio Zeta. Si tratta di 80 stampe vintage che documentano la cronaca di Palermo dal 1975 ai primi anni ’90.La mostra si compone di quattro grandi pannelli e nove grandi foto 150x100 selezionate dall’archivio di Studio Informazione Fotografica i cui membri hanno collaborato in quegli anni con il quotidiano palermitano L’ORA. Alcune delle fotografie esposte furono presentate nel 1979 con il Centro Siciliano di Documentazione “Giuseppe Impastato” diretto da Umberto Santino. La mostra ospita immagini di Vittorio Aurino, Ernesto Battaglia, Letizia Battaglia, Tony Bono, Maurizio D’Angelo, Luciano Del Castillo, Riccardo Liberati, Salvo Lupo, Eugenio Mangia, Fabio Sgroi, Shobha, Franco Zecchin. Completano la mostra le foto di Giulio Azzarello ed Emanuele Lo Cascio realizzate nel 2009. foto: 1982, Palermo. Giovanni Falcone al funerale del Generale Carlo Alberto Dalla Chiesa  Arshile Gorky Virginia Summer 1946 February 10 - April 1, 2010 Gagosian Gallery is pleased to present an exhibition by Arshile Gorky, a key figure in the movement towards abstraction that transformed American art. This exhibition coincides with the travelling retrospective opening February 10 at Tate Modern, London. Arshile Gorky was born Vostanik Manoog Adoyan c.1904, in Khorkom, Armenia. He escaped the Armenian genocide in 1915, emigrated to the U.S. in 1920, and changed his name in the process of reinventing his identity. He attended the New School of Design, Boston (1922) and the Grand Central School of Art, New York City (1925). Gorky took his own life in 1948 in Connecticut. Major exhibitions include "Arshile Gorky: A Retrospective of Drawings," Whitney Museum of American Art (2004). "Arshile Gorky: A Retrospective," currently on view at Tate Modern, London, opened at the Philadelphia Museum of Art in October of last year and will travel to MOCA Los Angeles in June of 2010. A fully illustrated catalogue with an essay by art historian and critic David Anfam accompanies the exhibition. Gagosian Gallery Davies Street 17-19 Davies Street London W1K 3DE Photo: ARSHILE GORKY Untitled (Study for "Pastoral"), 1946-1947 Graphite, pastel and wash on paper 19 1/4 x 25 1/4 inches (48.3 x 63.5 cm) The New Museum - New York  “SKIN FRUIT” First U.S. Exhibition of the Dakis Joannou Collection from Athens, Greece, to Open at New Museum on March 3, 2010 The New Museum today announced details of “Skin Fruit: Selections from the Dakis Joannou Collection,” its much-anticipated exhibition curated by artist Jeff Koons. “Skin Fruit” will be the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This will also be the first exhibition curated by Koons, whose early work inspired the evolution of the Joannou collection. “Skin Fruit” will be on view from March 3 through June 6, 2010, and will include over 100 works by 50 international artists spanning several generations. Focusing on the body in contemporary art, the exhibition will spotlight the age-old preoccupation with the human form as a vessel of and vehicle for experience. Koons’s title “Skin Fruit” alludes to notions of genesis, evolution, original sin, and sexuality. Skin and fruit evoke the essential tensions between interior and exterior, between what we see and what we consume. Photo:GOBER-NEW WORK New Museum 235 Bowery New York NY 10002 USA GALERIE MICHAEL JANSSEN, BERLIN  EMIL HOLMER Dead LettersOpening Friday, March 12, 2010, 7 p.m. 9 p.m. Duration of the exhibition: March 13 to April 18, 2010 Galerie Michael Janssen Rudi-Dutschke-Str. 26 (formerly Kochstr. 60) D-10969 Berlin Foto: Emil Holmer, Dead Letters (nr1), 200 X 280 cm, 2009 Courtesy Galerie Michael Janssen, Berlin NEW MUSEUM - NEW YORK New Museum Appoints Eungie Joo Next Curator of "The Generational" Triennial Exhibition to Open in Spring 2012  The New Museum announces the appointment of Eungie Joo, Keith Haring Director and Curator of Education and Public Programs, as the next curator of "The Generational," which will open in the spring of 2012."The Generational," the New Museum's signature Triennial, is an important showcase for emerging artists from around the world. The first edition of the Triennial "Younger than Jesus"opened in the spring of 2009, and included work by fifty artists from twenty-five countries all under the age of thirty-three. Throughout her career, Joo has worked closely with international artists from the Americas, Asia, and Europe, focusing on new commissions. She has continued this commitment at the New Museum and has developed the institution's unique educational and public programs since joining the staff in 2007. At the New Museum, Joo has spearheaded the Museum as Hub, an international partnership of five international arts organizations that supports art activities and experimentation; explores artistic, curatorial, and institutional practice; and serves as an important resource for the public to learn about contemporary art from around the world. As part of the Museum as Hub, Joo commissioned the yearlong Night School project by Anton Vidokle; launched the Propositions series, a public forum that considers contemporary artists's ideas in early development; a residency with artists My Barbarian; and a public installation on the Bowery by artist Lisa Sigal; among other commissions and seminars. Joo is currently overseeing the forthcoming second edition of the publication Rethinking Contemporary Art and Multicultural Education, co-published by Routledge. Most recently, she organized Nikhil Chopra's performance and exhibition "Yog Raj Chitrikar: Memory Drawing IX," which is on view at the New Museum through February 14, 2010. Joo also served as commissioner for the Korean Pavilion at the 53rd Venice Biennale in 2009, and selected Haegue Yang to represent Korea. "Eungie brings a breadth of vision and understanding of multiple communities to this important task. Her experience working in an international arena and proven intellect will help to shed light on the vibrancy of work by emerging artists from around the globe," said Lisa Phillips, Toby Devan Lewis Director. Joo came to the New Museum from the Gallery at REDCAT in Los Angeles, where she was Director and Curator from 2003 to 2007. In addition to her curatorial practice, Joo is currently a Visiting Curator at Bard Center for Curatorial Studies. She is a board member of the William H. Johnson Foundation; is on the editorial board of Afterall; is on the advisory committees to Art21 and Side Street Projects; and has contributed to numerous contemporary art publications. Joo was a member of the advisory committee for the 2008 Carnegie International, and in 2006, she was the recipient of the Walter Hopps Award for Curatorial Achievement. She completed a doctorate in Ethnic Studies at the University of California at Berkeley in 2002 and a BA in Africana Studies from Vassar College in 1991. Foto: Photo by Lorna Simpson New Museum 235 Bowery New York, NY 10002 MONDO POP - ROMA MondoPOP presenta: Urban Superstar Suite part III curated by David Vecchiato a Roma dal 23 febbraio all' 8 maggio 2010  Come promesso, ecco arrivare a MondoPOP la terza ed ultima Urban Superstar Suite part III, tre diversi group show delle opere selezionate per il MADRE che hanno dato la possibilità a tutti coloro che non sono riusciti ad assistere alla grande collettiva Urban Superstar Show al Museo MADRE di Napoli di vedere da vicino le opere delle superstar della Urban Art internazionale. Tra gli artisti selezionati Tokidoki, famosissimo nel mondo per i suoi toys e la sua linea di abbigliamento. Lo statunitense Bigfoot è invece una delle firme più credibili della Street Art USA. La parigina Zelda Bomba presenta le sue figure femminili di matrice new pop-espressionista. Due firme "storiche", una dell'Urban Art come la marchigiana Allegra Corbo e una del newpop italiano come AlePOP, inventore dello "sgorbionismo" e, per chiudere il gruppo, i romani Scarful, Cesko e Camilla Falsini con Giò Pistone del collettivo artistico Serpeinseno. ARTISTI: Allegra Corbo, AlePOP, Bigfoot, Camilla Falsini (Serpeinseno), Giò Pistone (Serpeinseno), Cesko, Scarful, Tokidoki, Zelda Bomba Foto: Cesko, White baby MondoPOP International Gallery/Art Shop of Rome via dei Greci 30 00187 Roma / Italy info@mondopop.it Gagosian Gallery - Roma Chris Burden  The Heart: Open or Closed13 febbraio - 27 marzo 2010 Inaugurazione alla presenza dell’artista: Sabato, 13 febbraio dalle 18.00 alle 20.30 Foto: Chris Burden, Nomadic Folly, 2001 Chris Burden in conversazione con Cristiana Perrella - Roma Domenica 14 febbraio 2010, ore 12.00 MAXXI – Museo Nazionale delle Arti del XXI Secolo Auditorium - entrata via Guido Reni 4/A, Roma Ingresso libero fino ad esaurimento posti Per informazioni +39 06.4208.6498 Chris Burden è nato a Boston nel 1946. Ha studiato presso il Pomona College di Claremont e l’Università della California ad Irvine. La sua opera è stata oggetto di numerose mostre, fra cui 14 Magnolia Doubles alla South London Gallery (Londra, 2006); il Baltic Center for Contemporary Art (Gateshead, 2002); Tower of Power al Museum Moderner Kunst Stiftung Ludwig (Vienna, 2002); When Robots Rule: The Two Minute Airplane Factory alla Tate Gallery (Londra, 1999); Chris Burden: A Twenty Year Survey all’Orange County Museum of Art (Newport Beach, 1988). Del 2008 sono Urban Light al LACMA di Los Angeles, nuova iconica installazione permanente composta da duecentodue storici lampioni restaurati, e What My Dad Gave Me - un grattacielo alto quasi venti metri fatto interamente di elementi metallici giocattolo tipo meccano presentato a New York. Le sue opere sono in importanti collezioni museali, tra cui il LACMA ed il Museum of Contemporary Art di Los Angeles; il Whitney Museum of Contemporary Art e il Museum of Modern Art, New York; la Tate Gallery di Londra; il Museum of Contemporary Art, Chicago. Burden vive e lavora a Topanga, California. Cristiana Perrella è curatrice e critica d’arte. Dal 1998 al 2008 ha diretto il Contemporary Arts Programme di The British School at Rome. Dal 2008 al 2009 ha ideato e curato per Riso Museo d’Arte Contemporanea della Sicilia il progetto SACS -Sportello per l’Arte Contemporanea in Sicilia. Interessata al rapporto tra arte e altri linguaggi visivi, ha curato diverse mostre in Europa e scritto su artisti italiani e internazionali. Per il MAXXI, in occasione dell’inaugurazione del museo nella primavera 2010, cura la personale di Kutlug Ataman. Dialogue Francesco De Grandi - Luo Xiaodong GALLERIA DELL’ARCO, Palermo opening 2 aprile 2010, ore 19 fino al 29 maggio 2010
Galerie Michael Janssen - Berlin
The Michael Janssen Gallery is pleased to host the first comprehensive solo exhibition of Gianfranco Baruchello (*1924) Galerie Michael Janssen, Rudi-Dutschke-Strasse 26,10969 Berlin |
MAMbo - Museo d'Arte Moderna di Bologna
SAVE THE DATE
EXPOSITION VENTE D'UNE SÉLECTION D'IDÉES - 20 MARS/18 AVRIL 2010
Now comes the monkey out of the sleeve...
Nato a Palermo nel 1968, vive e lavora tra Palermo e Milano.
Nato nel 1979 Xianyang, provincia di Shanxi (China), attualmente vive e lavora a Shanghai.Tra le principaili
GIANFRANCO BARUCHELLO - la formule