NY BIENNALE ART

Staff

2009-10-05T02:19:00.000-07:00

http://www.nybiennaleart.org/curators_staff.htm

Marika Maiarova

2009-09-27T05:52:00.001-07:00

House of water
Memory Instinct in a Digital Era Clarifying and documenting what we remember and experience, and from that to create and attempt to influence.
Curator: Pietro Franesi

Jason N. Miller

2009-09-27T05:42:00.000-07:00

UPC SEX
Curator: Pietro Franesi

BRIGITTA ROSSETTI

2009-09-27T05:30:00.000-07:00

Finally You
(Installation)
Curator: Pietro Franesi
Artist: Brigitta Rossetti
The Book of Creation.
A book as the result of the process of creation before a painting.
A huge precious book (1m x 1m) made of paper, where the whole creative irrational process is documented before the final painting.
The book will be on the floor closed.
Who want can open and read it, it is the purpose.
There will be inside drawing, poetries, sketches, scribbles photos and links.
There will be also empty pages.
Some pages will be written by other people interacting with the process of creation.
In some pages there will be holes that postpone to images through the discovery of the most depth meaning.

Installation
The installation is composed by the Book of Creation, by some sheets of paper disposed from the book to the wall, where the approach of painting takes form in different and opposite way.
Some small sculptures and material found by chance which was inspiring the artist, and a short video of the process.
The wall will be white with the signs and spots of color following the contour of a painting, which is not over there.
Which doesn’t exist yet.

Subject
Mystery of the existence, never able to reaches that Finally You?
Liberty to interpret the creative message and to turn it into different ways
Acceptance of different realities to compare, with elasticity, opposite to “a solo meaning”
Discovering the importance of the process of creation, metaphor of life, rather than just the result, the final end
How much can be more and more fascinating and interesting an incomplete piece, left uncompleted for years, for ever?
Where the artist doesn't turn his gesture into final solution but leaves it growing and evolving where the signs have a lot to say, where the materials allow other creative actions and thinking. Never ending process.

Support
Paper, cardboard, sculptures in clay, plaster, wood.
Video.
Material found on the road.

Biography
Brigitta Rossetti, born in Piacenza on 24-02-1974.
She obtained her degree in Modern Arts at the University of Pavia, with Angelo Stella, 110/110, presenting a thesis on the diacritical study of the Promessi Sposi by A. Manzoni kept in the National Braidense Library in Milan.
At a very tender age, her love for art and an uncommon spirit of observation urged her to search for the truths of the universe. Poetry is the mother of “flights” into the unknown, she sings and changes them into moments of fullness, whether they bring joy or suffering.
Painting is the daughter of poetry, where a poetic weave shines through in apparent simplicity, inscrutable, depicting parallel realities.
The artist also specializes in studying multimedia communications, obtaining her MEM at the Polytechnic College of Milan. As a result her artistic approach sees the creation of videos and installations like, for example, Flower presented at the Ferrara Biennial in November 2008.
As a poetess and painter, Brigitta Rossetti completed an artistic catalogue “Stelle senza Lato” (Stars with no Sides), MMC Editions in 2008;
At the International “Ali Penna D’Autore” she was chosen for an award for her contribution to the Anthology “Le Migliori Poesie della Religione Cristiana” (The Best Poems of the Christian Religion) and received a mention of honour plus the addition of other poems in the Anthology “I Classici Della Letteratura Italiana” (The Classics of Italian Literature) in 2008-2009; co-authoress in the essay “Investire in Cina” (Investing in China), Publisher Rubettino, in 2006; she was chosen at the Monza poetry competition with a publication in the “Antologia del Premio Letterario Città di Monza” (Anthology of the Monza Literary Award) in 2000.
From among numerous painters, she was chosen to be part of the Mega Art cultural association, run by Claudio Giulianelli.
She was asked to paint paintings as an award for the journalists Gaetano Rizzuto, director of the daily paper Libertà, and Alberto Schieppati, director of Food & Beverage in July 2008, and Luigi Cremona and Emanuele Galba, director of the daily paper Cronaca in 2009.
Some of Brigitta Rossetti paintings have been bought by Ruggero Jannuzzelli, benefactor,
who collects the works of important contemporary artists in his Montesegale castle.
In November 2008 the artist took part in the IV Ferrara Biennial with an installation video
and has been invited to take part in the VII Edition of the Florence Biennial in 2009. She Is working as an artist In the ZhouBrothers Art Center In Chicago.
She has reached the third place to the prize Italia Arte by Guido Folco, Torino 2009, and selected between the winner of the Environment Prize by Donato Coenna, Fiuggi 2009.

Jo Tuck

2009-09-15T19:52:00.000-07:00

Affronting the theme of Immaterialism
I like the ambiguity in the image of the runner in Towards the
light;is he running away from or towards something; may I suggest the
something is life.
The concept behind this artwork is, what is to be alive;how we fill
the gap between birth and death,the realisation of the emptiness of
inherent existence, dependent arising, causing the appearance of form,
the inevitable decay, the impermanebc of all.So what exactly do we
name?
Can we touch ourself, body conciousness ?.
A combination of both perhaps.
So if self is evasive and consiousness continuum wrapped in black and
white karma the only contemplatable ever changing stream of self has
little to gain claiming ownership of material objects, each form
imagined by our ever changing self.
So if art is about what it is to be human, the sense of longing and
loss, concepts of freedom spirituality immaterialism.
Art is unimportant next to life, creativity has as much to do with
experience, observation, and imagination, and if any one of these key
elemnets are missing, does it work?
Towards the Light, uses abstract and figurative elements to represent
mans never ending attempt to make sense of life........striving,the
runner, for a clear state of unburdened conciousness, catching a
glimpse of the human spirit struggling against the malaise of our soul
in our times.
The guiding principle is feeling. My paintings are begun through a
process of intuitive unpremeditated drawings or collage, and are
inspired by a particular event, places , , where figuration and
abstraction meet that is neither straightforwardly illustrational nor
expressionistic,
. Buddhism and the search for truth in a changing world has been one
of my constant themes. The painting Towards the LIght is 36 inches by
36, oil on canvas

Curator: Pietro Franesi

Sara Manzotti

2009-09-11T13:28:00.000-07:00

The toys box

The box where the toys are placed whenever one has finished to play, a container in which the creative activity is temporarily put away, together with that reality that even though it appears suspended, it doesn't cease to exist. It is the most cherished and precious thing that a child has, like a drawing, that (sometimes) without any reference to the visible objects from which he is surrounded, he spontaneously gives with joy to those he loves most. Meanwhile he draws he lives his story.

Each toy/piece of art is a piece of a tale: an object, a painting, a photo, the music.

The most concrete reality is the fruit of abstraction, matter manipulated by the idea, by the feeling. Like a natural flow of water which nobody knows where it originates. We know the water because a definition was given to it, but we do not know who has created it.

The Creator is the wind, the breath, the heartbeat, the fertilization. It is the question that is aimed to the Sky.

Thus the artist, tired of semiotics, semantics, of abstraction and figurativism, already accepted his human form, doesn't want to enter in another shape, the artist; therefore he takes his creations (those which make feel himself very proud of) and arrange them in a box. The box is a means, not a limit for the art objects, which are instead the subjects.

They aren't pieces of a puzzle to be put together, but elements to be placed according to one's own liking and to be taken anywhere one wants to, beacause they belong to the recreational world.

Whoever stops to look at them, becomes attacted by their reference to the external world and by their colours, but, the more one dwells upon them, the more he starts to hear something: the silence and their inner sound. That freedom that the artist experiences when he becomes "Everything"; soon after the onlooker feels their candor, the lightheartedness, and little by little he wants to own them. He wants to have them all.

They remind him of his desires, the songs sung by the mother, the feelings.

Finally the artist can share his living and emotions, which are the same for everybody, and his happiness finds realization in this process of giving them to others.

Exhibitions

2009 “1000 Artisti a Palazzo”, Group Exhibition, Palazzo Arese Borromeo, Cesano Maderno, Italy

“Rispettivamente Arte”, duo show, Sala Civica C. Levi, Desio, Italy

2008 "Painting and Graphic Art" solo show, Villa Vertua, Nova Milanese, Italy

2006 “Aesthetica Art Exhibition” at the Gateway to the Quarter, York, UK

“ Sara Manzotti Painting and Graphic Art “ solo show, Villa Tittoni Traversi, Desio, Italy

“ Hypegallery ”, Spazio Assab One, Milan, Italy

2005 “ Women’s Art Show 05 “, Fairfields Arts Centre, Basingstoke, UK

“ Hypegallery ”, Palais de Tokyo, Paris, France

“Lexmark European Art Competition 2004”, The Air Gallery, Dover Street, London, UK

“ Living London “, London College of Fashion, John Prince’s Street, London, UK

“ Hype Gallery “, The Old Truman Brewery, Brick Lane, London, UK

“ XHIBIT ’03 “, The London Institute Gallery Mayfair, London, UK

“ In – Print “, Cumbria Institute of the Arts c/o The Gallery at The Canopy, Kendal, UK

2002 “ In – Print “, Cumbria Institute of the Arts, Carlisle, UK

“ Brixton Open “, The Bettie Morton Gallery, Brixton, London, UK

“ Canonbury Gallery Open “, Canonbury Gallery, Islington, London, UK

“ Exposure “, The Beatrice Royal Contemporary Art Gallery, Eastleigh, UK

2001 “ Artists in Print too “, Atrium Cotton Building London Bridge, London, UK

“ Gardens “, InsideSpace Gallery, Burlington Arcade Piccadilly, London, UK

“ Artists in print “, R. K. Burt Gallery, London, UK

“ Engraving European Biennial 2001 “, Rotary Club Acquiterme, Ovada, Italy

1997 “ Menotrenta “, Competition for young artists, Hajech Art Space, Milan, Italy

1996 “ Young Brera’s Engravers “, Il Melograno d’Oro Art Space, Milan, Italy

“ In Accademia “, National Printmaking Competition for Academies of Fine Arts, L’Aquila, Italy

Cultural Association “ La Cuba D’Oro “, Rome, Italy

“ Salon I “, Spazio Linati Gallery, Milan, Italy

1995 Cultural Association “ La Cuba D’Oro “, Rome, Italy

“ Ex - libris and Engraving “, Libreria Duomo, Milan, Italy

“ Salon I “, Studio Lattuada Gallery, Milan, Italy

IV National Competition of Graphic Art, Brisighella, Italy

IV National Competition of Painting, Lissone, Italy

Publications

Image of a print chosen for the book ‘Illuminations’‘ by the Celestial Arts, Houston, USA, 2006

Images of paintings and prints used for The European School of Oncology leaflets:

Advances in Clinical Oncology Conference May 2005, Warsaw, Poland

Skin Melanoma Conference April 2005, Moscow, Russia

Advances in Breast Cancer and Melanoma Conference September 2004, Sofia, Bulgaria

Familial Cancer Conference 2004, Milan, Italy

Gynaecological Cancer Programme Brochure 2004, Milan, Italy

Breast Cancer and Melanoma Course and Seminars 2004, Milan, Italy

Chirurgia e Immagine Corporea 2004, Italy

Carcinoma Conference 2004, Milan, Italy

Event Brochure and Flyer 2003, Milan, Italy

Image of a painting used for the Department of Culture, Media and Sport Annual Report 2001 book cover, London, UK

Qualifications

2000 - 2003 Professional Development Award in Design

Certificates in Experimental Printmaking, Applied Printmaking, Printmaking Techniques

London College of Printing, London, UK

1996 - 1998 Diploma di Maturita’, (Art High School Diploma)

Liceo Artistico Hajech, Milan, Italy

1992 - 1996 Diploma in Painting (B.A. equivalent)

Brera Academy of Fine Arts, Milan, Italy

1989 - 1990 Certificate in Graphics

R. Bauer Institute, Milan, Italy

1983 - 1987 Diploma in the Teaching of Art (A level equivalent in art subject)

Institute of Art, Cantu’, Como, Italy

Curator: Pietro Franesi

Sabine Panossian

2009-09-09T12:13:00.001-07:00

"TRESPASSING"

Can I make visible the boarder our interpersonal distance?
The bubble of personal space is surrounding us all the time.
In total silence. Invisible energy between the dust.
Intimacy or discomfort are making their way all by themselves.
Intimate - Personal - Social - Public. Distances everywhere.

How strong do we feel the emotional bubble of ourself and others?
Taking controll over the boarderline.
You. Me.

On the search between strangeness and intimacy
I am floating in the atmosphere. Slowly. All by myself.
Comfortable and save. Free from any distances.
Am I dreaming? Am I alive?

When is the moment I am crossing the border?
Or is it you crossing it?
2) Bio

born: 6.11.1982, Vienna, Austria
lives and works in Berlin, Germany
2002-2009 diplom in communicationscience, university of Vienna, Austria
since 2006. part of the artist group: Happenstudio, Berlin, Germany: www.happenstudio.de
since 2006: working as an assistant director, director of photography, production assistant, Berlin, Germany

3) Profile
Sabine Panossian is an emerging austrian artist working with photography and film.
Living in Berlin since 2006 she joined the artist collaboration Happenstudio and since then
was participaiting on farious group exhibitions in Germany and Italy.
Her photographies and film works are mixing documentry and ficiton.

4) Exhibition History

::: 2009 ::::::::::::::::::::::::::::::::::::

::Trespassing. group exhibition
Happenstudio, Berlin (www.happenstudio.de)
c-prints: Trespassing

::: 2008 ::::::::::::::::::::::::::::::::::::

::Plastic Supreme. group exhibition in 3 different citties:
Happenstudio, Berlin; (www.happenstudio.de);
Gingerzone , Florenze, Italy (http://www.gingerzone.net/cosa-offre/eventi.php?id=130&m=05&y=2008);
Wallhalla Theater: Wiesbaden (www.walhalla-studio.de);
c-prints: "plastic balkan supreme"

::: 2007 ::::::::::::::::::::::::::::::::::::

::FOOD. group exhibition
Happenstudio, Giovanni Galizia, Rosario Memoli, Take away, Vincenzo Abate, Saehi & Taherimoghaddam. curated by Massimo Riccardo
Brolo, Sizilien, Italy (http://www.exibart.com/profilo/eventiV2.asp?idelemento=44347)
gelatine installation 2,4m x 2,4m

::Feste Formate. group exhibition
Happenstudio, Berlin (www.happenstudio.de)
c-prints: "8 am", "Maidenmonsters"

::: 2006 ::::::::::::::::::::::::::::::::::::

::Frühstück, Mittag, Kaffee, Abendbrot. group exhibition
Happenstudio, Berlin (www.happenstudio.de)
c-prints: "fiat 500", "secret stars", "wien-roma-leipzig"
video installation: "schweinebraten und massenmedien" 4 min, "Überbildung" 4 min

5) representation

www.happenstudio.de
Curator: Pietro Franesi

Edoardo Romaguera

2009-09-09T09:44:00.000-07:00

STUDIES

2008 Doctoral Investigation: " Metamorphosis: processes and principles of the animation with sand. (Tesina, U.P.V Department of Drawing, moviment-animation). Valencia. Spain.

2007 Title of specialist in animation. Polytechnical University of Valencia, Faculty of San Carlos. Valencia. Spain.

2004/05 Masters of artistic production in the National School of the Plastic Arts: UNAM, Mexico D.F, Faculty of San Carlos.

2002 Lawyer in Fine Arts. U.P.V. Polytechnical University of Valencia, Faculty of San Carlos. Valencia. Spain.

SEMINARIES

2008 " POETRY AND ARTE" VIDEO, within the Pépinières program distributed by D. Javier Seafood, and realised in center of Konstepidemis Art. Gothemburg, Sweden.

2007 " The VOICE IN the VIEW", 2º Seminaries of dialogues with the art. ESTHER FERRER, MEDINA VALCARCER, JUAN NOBLE.

SPECIALIZATION COURSESES

2007 Scripture and grafomotricity. 100 hours.

2006 Elaboration of didactic programmings and its application. 100 hours.

The game like didactic resource. 100 hours.

2003 Factory of artistic photography in " Center of the Imagen" , Mexico; in charge of Gabriel Figueroa Flowers. Course of artistic Photography in the School Superior of Craftsmen of Valencia.

SCHOLARSHIPS

2008 " ARTIFARITI 2008". Association of Seville by the Human rights of the Saharahui town. PICTORIAL FACTORY OF TECHNIQUES AND PROCEDURES.

2007 " ARTIFARITI 2007". Association of Seville by the Human rights of the Saharahui People. Ministry of Culture of the Western Sáraha. Tifariti.

2004 " Scholarships of Stay for Artistica" Creation;. Secretariat of Outer Relations of the Government of Mexico D.F. Title: " City pile of broken words: Visual poetry in Mexico D.F". Had the charge of by: Gabriel Figueroa Flowers. Mexico.

2001 Foundation Gorge Blanch de Audio-visuales. Title of the project: " Space creation of structures arquitectónicas". Valencia.

PRIZES

2008 Finalist in IX the edition of the painting contest Gallery " Fiv-Art". Alicante. Spain.

I Contest of Digital Photography Argazkalik Rolling Rollak. Digital photography. Euskadi. Spain.

Finalist in the international contest " 2008culturas" . Music, photographs, video-art. Madrid. Spain.

2007 Finalist Bottom of Artistic Patrimony of the Polytechnical University of Valencia. Titled work: " Conversations with Newton and Goethe: Light verde". Valencia. Spain

2005 1° Prize of photography " OFIJOVEN" Castellón. Title of the work: " Human structures V". Castellón. Spain.

2003 Finalist. V Painting Prize of the Real Academy of San Carlos. Title: " Zone of recreation musical". Valencia. Spain.

INDIVIDUAL EXHIBITIONS

2008 " Face and arquitectura". Street of the sea. " Sun i lluna". Valencia. Spain.

2006 " Sculptures humanas". OVNICUADRADO. Valencia. Spain. Within the cycle " Erotizarte". Exhibition of photography " Space creation of structures arquitectónicas". Spain.

2005 D´Arts Gallery. " Sculptures humanas". Valencia. Spain.

2001 Ca Revolta. " Body and arquitectura". Valencia. Spain.

COLLECTIVE EXHIBITIONS

2008 " Social center carbonera". Presentation projects of artifariti 2008. Seville. Festival video art Sherry of the border - Cadiz. Spain. Catalogue. Center of the Arts of Seville (CAS). ARTIFARITI 2007. Catalogue.

ANONYMOUS DRAWINGS N#8 Berlin. Germany. Catalogue Web. " NY BIENNALE 2008". New York.USA. Catalogue Web.

Ausstellungsort ROOM: meinblau.e.V. Christinenstrasse 18 - 19 Haus 5/Pfefferberg 10119 BERLIN. Germany. Catalogue Web.

" Magatzem d´arts" on the occasion of INCUBARTE 2008. Painting. Valencia. Spain.

" Naranja" room;. Collective painting exhibition. Valencia. Spain.

Work contest for the bottom of the Polytechnical University of Valencia. Gallery " Rosalia Sender". Of the 31 of May to the 30 of June. Valencia. Spain. Catalogue.

2007 alternative Space " OVNICUADRADO". Valencia. Spain.

2006 House of Culture of Victor de los Ríos. " Shade of artista". Santonya. Spain. Palace of Manzanedo. " Shade of artista". Santoña. Spain

House of culture of Alboraya, " Cervantes, the art suena". Valencia. Spain.

2002 Exhibition hall " Josep Renau" Awarded foundation Canyada Blanch. Faculty of San Carlos. Valencia. Spain.

2001 Museum of the atarazanas of Valencia. On the occasion of " V Prize Senyera de Pintura and Escultura". Finalist. Spain. Catalogue.

1999 " Essence to piedra". Room of exposciones Quart de Poblet. Valencia. Spain.

PARTICIPATION IN FESTIVALS

2008 IX Festival of shorts (of the 28 of November to the 5 of December) Sample of Video Art. Sherry of the Border. Cadiz. Spain.

" ARTIFARITI 2008" It distributes Factory. Pictorial techniques and procedures. released terrritorios of the Western Sahara. Tifariti. " INCUBARTE 2008". Painting and poetry. Magatzems d'art.

Performance and piano.2008- II show " VALETUDO ARTISTICO". Sonorous landscapes.

2005 IV Fair of the book of City of Mexico Federal District. Performance: Tijerythor. " City pile of broken words; Poetry visual".

2003 " GATES" ELECTRONIC ARTS Milan Italy.

PAINTING MURAL

2008 Mural for the villa plants of the Clinical Hospital of Valencia. Spain.

2006 Accomplishment of the mural " People of Sotileza" , original work of D. Jose Ramon Sanchez yielded to the Ayutamniento de Santoña, Santander. (Triptych mural of 500 meters square). Government of Cantabria. Spain.

PERFORMANCE

2008 " ARTIFARITI 2008" European parliament of Strasbourg. France.

" Research center Mesoasiatico" OVNICUADRADO. Valencia. Spain

2007 " The return of Sorolla, Picazo and Benlliure to contemporaneidad" University the Nau. Spain.

" Tijerythor in Valencia" Alternative room OVNICUADRADO. Valencia. Spain.

2006 " Tijerythor against Vortex" Festival of experimental art in Utebo. Saragossa. Spain.

2005 " Tijerythor" Palace of beautiful arts of Mexico D.F.

2003 " GATES" ELECTRONIC ARTS. Tribute to Arbidas Sabonis: " Or verge negra". Oporto. Portugal.

2002 " Reflejos". II Festival of Performance U.P.V.

2001 " Bags negras". I Festival of Performance. U.P.V.

ILLUSTRATIONS

2007 Illustration of the story " llorones" of the book " the Capis" of the author Eugenio Rey. Galicia. Spain.

ACQUISITIONS OF WORK

2007 museum of Contemporary Art you take care of of it of Tifariti acquired one of its works " Ennigab" as cession on the part of the artist. Released countries of the WORK Sahara Occidental. Gift.

2006 House of Culture of Alboraya. On the occasion of the exhibition " the inheritance of cervantes". Valencia. Spain. City council of Santoña. On the occasion of the exhibition " Shade of artista" realised in the Palace of Manzanedo de Santona and in the room of Exposciones " Victor de los Rios". Government of Cantabria. Spain

COORDINATOR

2008 Space of artistic creation " LAVAKERI". Valencia. Spain.

Festival of independent art " INCUBARTE". Valencia. Spain.

2006 alternative Space of exhibitions " OVNICUADRADO" . Valencia. Spain.

ASSOCIATIONS TO WHICH IT BELONGS

Foundation " ARTE y DERECHO". VEGAP. Madrid. Guide of Illustrators of Mexico and Spain.

Curator: Pietro Franesi

Duty Gorn

2009-09-08T19:58:00.000-07:00

Photo by Alberto Zanetti

Title: DUTY CUBE

The idea is to interpret in a contemporary way and far from all rules the “Universal Judgment ” by Michelangelo.

The personalities with their past actions will become the new gods free to do anything trough connivances and calculations sometimes with good intentions but with disturbing results.

They are souls that float in a spiral that culminates with a symbol, there where Michelangelo has painted the vital touch between God and men. It’s a big question mark that contains and implicates the disturbing meaning of the work of art. Where will mankind go? Our personalities will move within the cube/worship place and from time to time they will be accompanied by quick questions written aside by the artist, almost as to involve the guest in a series of universal and personal questions that will remain inside, obliging him/her to reflect.

But the artist will insert also unknown men and women, autobiographical allusions that surface from his unconscious. It will be a marvelous trip through his contemporary history but also through his own intimacy, where personal power games chase each other trying to prevail above others.

For this reason the music that will reign inside the cube/worship place will be the pure essence of the concept of the game, the candid side of this term: nursery rhymes sang by kids in all languages.

DUTY GORN (Guido Minto Belloni), membro della street art milanese, inizia a dipingere nel ‘94 a soli 14 anni dando inizio così ad una carriera che fin da subito gli porta riconoscimenti a livello europeo.

Vince molti contest di writing a Milano, Reggio Emilia, Modena, Carpi e molto presto si esprime su tele preferibilmente di grossi formati in acrilico, tempera e marker raggiungendo Roma, Barcellona, Zurigo ed Amsterdam.

Definito dalla critica un misto tra la pop art di Andy Warhol e la Scuola d’arte di New York, DUTY GORN rappresenta oggi uno degli artisti più promettenti che l’Italia può vantare.

Presente dal 2004 presso lo Spazio Pontaccio in Brera e Vincitore del Premio Campari “Campari Mixx for Art”nel 2005, il giovane artista ha esposto presso la Triennale, il Teatro delle Erbe, la Rojo Gallery a Milano, la Rojo Gallery a Vienna, la Inoperable Gallery a Vienna, Puzzle 4 Peace a Bratislava e in location note come il Plastic, Lo Straf Hotel, L’Enterprise Hotel, La Banque, Orea Malià Atelier.

Ha partecipato inoltre ad eventi di brand quali Vertu, Montblanc, Salone del Mobile 2006 e 2007, Marcel Wanders Puma Collection, Classic Life, Campari, Zero 02.

Curator: Pietro Franesi

Edoardo Romaguera

2009-09-08T05:54:00.000-07:00

Juan Claude Pictet

2009-09-08T05:50:00.000-07:00

Title: Body Painting

I was born in a extraneous world, I had to confront it and than I didn't understand it, and in the end I accept it. In reality I don't accept it, I live it, since I am here, I want to live as I say.

I want to live over lines, which I am not able to draw straight but always soft, round, like my body.

Nonconformist? No, It's not for me.

I write bad, I drink and smoke. I still dream to change the world without moving a muscle.

Fuck, I'm afraid.

At the same time a simple and old symphony exalt myself and in a second I fell inside a power that shake me from the stomach and sweep me all. In that way I can see clear. Sometimes the colors don't be enough, I scream on the canavas and I hide under that my desperate soul which wants coming out and asks help.

HELP.

IT'S GOOD. IT'S BAD.

JUMPS OF JOY AND CRIES OF DESPERATION.

Sometimes I'm crazy and sometimes I'm caste.

Sometimes I feel me the devil, other times an angel from the heaven.

I had my first black and white.

Curator: Pietro Franesi

Sirkka Laakkonen

2009-09-08T05:46:00.000-07:00

Curator: Pietro Franesi

Alex Komsky

2009-09-08T05:45:00.001-07:00

Paintings. Mixed Media on Canvas. Gold and Silver leaf. Since there are cultural expressions, artists are searching for symbols. Where words are insufficient, pictures start. Komski works in this tradition. In the latest works mostly religious, symbols are made of fruit. Intriguing. surprising and in a way logical. The man became man thanks to Eve's apple. The orb is the apple of power. Food and vegetables in particular stand for fertility and vitality. The Horn of Plenty is filled with fruit, the grape bunch is the symbol for the Last Supper. Maybe Komski prepares a last supper for each religion. Or, perhaps it is an expression of irony. Or the everlasting circle of life. Or a message to everyone which says: enjoy the healthy symbols, don't die for a cross or a half moon, but eat them and celebrate the life. Komski studied the old masters profoundly, he translate their ideas to images of the 21st century in which the observer defines the spiritual content of the symbols. Installation. Mosaic made of fresh fruits and vegetables in the shape of Bull of Wall St. Mosaic – is one of the oldest art forms existing on Earth. Mosaics adorn Palaces and Villas, Churches and Synagogs from Ancient Rome to now days symbolizing beauty of nature and human being. Here is a mosaic of different kind. It made from fresh fruits and vegetables so fragile, that they will deteriorate during the relatively short period of time. The end of the Old Era, the Wall street crisis, greed of new Aligarh and old Billionaires. In his installation-mosaic Komski creates a statement. The Bull of Financial Market, The Bull of Wall Street made of his signature materials, fruits and vegetables goes down.
Curator: Pietro Franesi

Aldo Sardoni

2009-09-07T07:53:00.001-07:00

Rome 1964 - architect and photographer, studied architecture and photography in Venice and Rome. Master in Theories of Architecture.
Attracted by the elements making up the the image whit particular attention to the part of it out of the shot. He works in digital with cameras and objectives Canon L. He Lives in Sardinia.

Curator: Pietro Franesi

Sergio Muntoni

2009-09-07T07:39:00.001-07:00

BIOGRAFIA
Nàschidu in Biddamanna (Og), bivet e traballat in Tortoelì ( Og ).
Sergio Muntoni pintat belle dae cando est nàschidu.
Giai dae pitzinnu at àpidu s’istintu mannu pro sas artes figurativas e de su
paesàgiu.
At fatu istùdios a inghìriu de sa pitura naturalìstica e ambientale italiana e
europea, faghende una autoriflessione profunda subra su divenire de
s’imàgine de s’arte, lompende a su cumbinchimentu ca, lassende pro
bonas sas operatziones de chirca e avanguàrdia, goi mutida, s’arte est fata
dae cussu traballu mannu chi est s’inventzione poètica de sa realidade.
Òperas suas s’agatant in museos, colletziones pùbblicas e privadas.
Testos crìticos de sa pitura de Sèrgiu Muntoni giughent sa frima de Paolo
Levi, Donat Conenna, G. Mugnone, G. Tuti, D. Picciau, G. Patellaro, S.
Busnelli, M. Belgiovine, I. Maidai, B. Bandinu (iscritore antropòlogu), G.
Lilliu (archeòlogu, Acc. De sos Lintzeos), M. Vanni, L. Ciatto, Barbara
Campagna (giornalista), F.R.Porcu (giornalista) L.Piras(giornalista e iscitore).
De sa monografia de Sergio Muntoni b’at una versione in VHS pro contu de
sa Vìdee- editziones televisivas- Milano- CD Rom pro contu de sa domo
editritze Alba Ferrara.

ONORIFITZIÈNTZIAS.
- Professore Mastru de arte “ Honoris Causa 2003”. Accadèmia
intern. dei Dioscuri, Taranto.
- Insignidu de su tìtulu de Gran maestro e ambassadore de s’arte
italiana in su mundu ( Cavalieri Templari della Civetta , regione Puglia,
prov. di Brindisi , Arte Mondadori, Palatzu de Provìntzia de Brindisi ,
2007.
- Insignidu de su tìtulu de: Acadèmicu, setzione arte dae
s’acadèmia “Greci Marino”, acadèmia de Verbano, Novara.
- Acadèmia Internatz. De Arte Moderna, Roma – Acadèmicu S.C.
Dae su 1997 Sergio Muntoni est pintore ufitziale e Legambiente
responsàbile provintz. de Salvalarte.

Curator: Pietro Franesi

Sp 38

2009-09-07T07:08:00.000-07:00

NO PROPAGANDA PROJECT

too much words lost ? for nothing… too much expressions misunderstood … too much stars anonymous …

“ NO PROPAGANDA “

And the world will be a preview or not …

The action is planetary but wants to be globally.

In front of so much light consummation and visual and virtual gavage – sumptuous and expensive – there is a need in reacting with a campaign of sticking placards, which shows but doesn’t encourage. Art to provide help to consumers and non-consumers, which presents like nonsense or an allegory of non-advertising, claiming an anti-advertising message for a non-public by the means of primary communication and visible (very visible) for everybody everywhere.

art like a useless propaganda – or propaganda like a useful piece of art.

… finding in a antediluvian gesture imaginary art in a primary and universal communication …

As a big campaign, but for nothing , derision and NO-fun …

SP 38 , October 08.

Curator: Pietro Franesi

Stephanie Homa

2009-09-07T07:06:00.000-07:00

Stephanie Homa’s work, in its innocent, child-like style, reflects the aesthetics of drawings made during childhood, taking the viewer on a nostalgic trip down memory lane.

In this naïve manor, Homa, who is sometimes referred to as Cake, juxtaposes simple motifs of memorable objects such as animals, birds, trees and rainbows with man-made symbols like cars, helicopters and tall buildings that appear slightly more abstracted, attempting to create a tension between the two. The realms of nature clashing with the products of civilization are accentuated by a combination of the use of bright or pastel colours and the artist’s impulsive flow.

Homa is inspired by automatism, a method which the Surrealists and Dadaists commonly used, where the artist strives to allow the impulses of the unconscious to guide the hand in matters of line, colour, and structure without the interference of conscious choice. By working in this way, a dreamlike atmosphere is created in her works, however a distinct central figure often appears, which is given symbolic importance.

Homa’s expressive freedom is an attempt to dispose of conventional drawing techniques, which is also apparent in the materials she works with, often using imperfect or used papers that have been folded or marked since their production. Despite this, her well composed collages with their precisely placed dots, stars and hearts suggest a well thought-out arrangement.

Stephanie Homa was born in Germany in 1981. She studied textile and surface design in Berlin, graduating last year, and now lives and works in London where she has mainly been selling her work online.

Curator: Pietro Franesi

Philip Tonda Heide

2009-09-07T07:04:00.000-07:00

Based in Amsterdam, Berlin and Copenhagen.
Education: Gerrit Rietveld Academie, Amsterdam, NL: Fine Art/Timebased Art UDK Berlin, DE: Fine Art/Visual Culture Studies.

Curator: Pietro Franesi

Benna

2009-09-07T07:02:00.001-07:00

Title: Lost civilization of vessels

2009
video, DVD stream MPEG2 PAL 4:3 Stereo, 5' 10''.

This short movie has been realized with homonymous photographic series, consisting of 675 elaborations 24x32 cm, in order to create an additional narration that serves to better comprehend the meaning project.

As a file of mysterious and alien origins, the artwork displays the finds of what seem a civilization suddenly disappeared.

Of this civilization, incomprehensible to the eyes of exotic archaeologists, remain nothing but but debris of toxic substances and rubbish, which lay under an invisible dust into a still atmosphere, crystallized, with muffled reverberations, where the nature slowly returns to its archaic equilibriums.

From these poisonous debris, lost on calm moor, one tries to deduce with logic the fate fell on this “civilization of the vessels” that it has vanished leaving no other traces.

These debris are the only clues of the past existence of a certain form of almost intelligent life, that however has gone lost or has been corrupted up to the self-destruction.

The echo of a foolish tumult from a distant planet extinguishes itself in a final dull roar.

Perhaps attracted by this roar, the travellers came in this stone lost in the cosmos just to ascertain the end of that tumult.

An introduction
The artistic expression of Benna is characterized by the coexistence of two fundamental elements:
a firm conceptual substratum and a unsettled aesthetic appearance.
Benna takes advantage of sundry disciplines and techniques: painting, photography, graphics,
cinematography, sculpture, as well literature and music. Therefore eclecticism is the most suitable
word to define his production which is constituted by graphic, photographic and synthetic artworks,
short films, acrylic or oil paintings, poems, assembled objects and more.
This eclecticism does not have a merely experimental intent, since it is the result of a planning in
the choice of the expression form, or the language, that is best suited for the manifestation of a
concept.
The significances are a constant presence in his artworks, which always take origin from a
conceptual research. This research becomes accomplished through the technical expression, or
even merely aesthetic, but always showing an interest for universal, social or humane
metaphysical topics, faced sometimes in a grieve manner and sometimes with irony.
A short resume
2009 - Con Andy Warhol, collective exposition, Capri (Naples) - Italy
participation with photographic and computer graphics artworks
2008 - Artintown, collective exposition - Turin - Italy
participation with video art installations, painting and photography
2007 - Sperimenta 2007, cinematographic parade - Dodes'ka-den - Chiavari - Italy
premiere of some short movies
2007 - Dedalo, collective exposition - Villa Grimaldi - Lavagna - Italy
participation with painting, photography and audio
2006 - "short movie #1" winner of the Golem Videofestival - Turin - Italy
2006 - Sperimenta 2006, cinematographic parade - Dodes'ka-den - Chiavari - Italy
premiere of some short movies
2006 - Essere Visual, visual arts happening - Prato - Italy
premiere of some short movies
2006 - La faccia omessa, collective exposition - Jizaino Arts - Genoa - Italy
participation with painting and photography
2005 - Sperimenta 2005, cinematographic parade - Dodes'ka-den - Chiavari - Italy
premiere of some short movies
2005 - Bela Lugosi is not dead, collective exposition - Agheiro - Lavagna - Italy
participation with visual art installation
Bio
Benna was born in the second half of the XX century, in summertime. He lives on the surface of the
planet Earth, preferring the sea shore. He sojourns in Italy, between Liguria and Tuscany, lands
that arouse those poetic meditations from which his artworks have originated.
Creativity and devotion for the visual arts have characterized him since childhood. He
decides to be an artist at the age of thirteen, but he is misled by art schools, just for a while,
therefore he intensely devotes himself to autodidactic studies in a variety of fields
Curator: Pietro Franesi

Willem Fred

2009-09-07T06:58:00.001-07:00

Title: Faxman

" Beauty and Uglyness"

I'll show, with my Fax-copy machine and the manipulations of the scanner, to create and mix new images with a model, found in magazines.

I clone faces and bodys, writting too, and it appaer new effect, new digital images,

like a DJ who mix and transform differents Musics, I use the technology to Create a new image and style.

Often I clone celebritys , and for me its a tribute to Mikael J. too use his face.

His face start black to finish white and cloned.

Beauty to uglyness.

Fred Willem-
Belgium-Brussels
1974

Artist-photographer-and digital performer,

inventor of the Scanner-art(Faxart)

Biography:

1993 Start studies in artschool "la Cambre " in Brussels

1993 stop studies at "la Cambre",
travels in Marocco, Turkya,indonesia, Nepal, Thailand,....

1994 discover of the Scanner-art( Faxart),

performances for Belgian and French TV,

and somes articles for magazines , newspapers

1995 Start exhibition in the Street in Brussels, ( Raylways station,Parc,...)

1995 exhibition at the Freedom Theatre -London

1996 travels around the world

2001 start argentik photography( double exposure)

2002 work like photographer for the Techno club -"Fuse" in Brussels

2002 french television for the scanner art ( culturo-Canal +)

2003 Faxart - performance in the Gallery " Artcor" , street Richelieu-Paris

few edition of photography in differents newspapers , magazines, like "Image- magazine"(paris),"le Soir " Belgium,.....

2004 official photographer for the "Moulin-Rouge " Paris

2005-2006 travel in Buenos Aires

2007 Berlin, first exhibition at the "Foto-shop"gallery : Scanner-art performance

2008 new galery in Beirut -performance and photo-exhibition " Artlounge Gallery"

2008 edition in " Exberliner magazine" and cover for the " AGenda culturel" magazine Beirut

Curator: Pietro Franesi

Sabrina Locatelli

2009-09-07T05:52:00.000-07:00

RICREARTE takes life from an intuition of Sabrina Locatelli, graduated in Architecture at the Polytechnic of Milan.

RICREARTE mostly plans, produces and commercializes objects of innovative design using recovered materials. From here the definition [eco] design, meant like reinterpretation of the discarded object and gesture of resistance to the contemporary phenomenon of compulsive wasting.

Objects of design like lamps, carpets, mirrors and sittings are the real outcome of this projecting reflection.

The searching distance is a complex way. It begins from the study, the research and the choice of the materials. Through the planning of the finished work and of the execution instruments, it is advanced until its complete realization.

A continuous dialectic dynamics characterizes the entire process, from the idea to the realization, through the research of an equilibrium between shape, colour, matter and proportions.

If from Arman’s works and then in the Sixty’s, through the Junk Art, the refusals have made their appearance into art galleries, now is the whole world of the design that gives its attention on (?) and re-interpretates them.

Nowadays it isn’t just an esthetic issue, born to give visibility to the implications of the society of the consumptions, but also an ethic issue to the sustainability of life styles. From the provoking attempts, the disconcert operations and the re-contextualization beloved to the artists, [the eco] design moves the attention on the refusal in an ecological point of view: creating objects by what is discarded is a meaningful gesture above all in the name of sustainability and respect of the atmosphere.

It’s a poetic gesture!

ROTHKO CARPET - PRODUCT DESCRIPTION

1. definition

Rothko is a carpet in pure wool felt, hand interlaced.

2. philosophy

The Rothko carpet conjugates tradition and innovation.

One traditional technique as the webbing, through its interlace of weft and warp, joins the innovative topic of the sustainability, meant at the same time as idea, style of life, way to produce.

3. materials

The material used for its realization is recovered from flashes (rejects) of industrial working. They’re selvage drafts of working of the felt. The main characteristics of the “raw materials” are the length (ca. 50 meters every selvage), the thickness and the trace of the seam executed before the cut with a clashing coloured thread.

4. working

The instrument for the realization of the carpet is a handicraft chassis by hand, with specific adjustments according to the base material.

The qualities of the material allow to create, in phase of webbing, a particular, large weft interlace, in which the colour of the felt mixes to the seam’s one following an irregular course (due to the natural torsion of the fiber in phase of working) that creates sophisticated nuances. The connection of “strips” of different colours is made without seams, simply interlacing several selvages the one with the other.

5. finished product

The used technique concurs to obtain infinite variations, through the choice of many different colours, various modalities to assemble them (lines, squares,…) and multiple dimensions.

The characteristics of the material, the particular weft, the design and the colours, rewards every carpet an only piece.

A contemporary weave from an ancient technique.

Curator: Pietro Franesi

program NO YET

2009-08-29T08:22:00.000-07:00

NO YET #

JULY 1st – AUGUST 31st, 2010

Permanent Exhibition

La Venue – 608 West 28th Street

Www.Lavenue-Ny-Com

# IN PROGRESS

Aldo Sardoni Italy Photography

Alex Komsky Rusia Painting

Attila Csaji Hungary Installation

Barbara Zanelli Usa Drawing

Blue Noses Group Russia Installation

Brigitta Rossetti Italy Installation

C.I.A. Not Nationality Installation

Carlo Bernardini Italy Installation

Chen Wembo China Painting

Chin Chin Yang Taiwan Installation

Cristina Melotti Usa Painting

Duty Gorn Italy Writing

Eddie Alfaro Usa Painting

FF Maroc Video

Gianluca Ferrari Italy Video Installation

He Jinwei China Painting

Helena V. De Vengoechea Venezuela Photography

Hirofumi Maeshiba Japan Sculpture

Ismail Acar Turkey Painting

John Bonafede Usa Perfomance

John Seaman Usa Photography

Joyce Dibona Usa Installation

Jungeun Park Corea Painting

Kelly D. Williams Usa Painting

Konstantin Batynkov Russia Painting

Lai Sheng China Photography

Leonardo Fibonacci Egypt Video

Leonid Tishkov Russia Painting

Louel (Loucas Ioannou & Elena Kotasvili) Cyprus Performance

Lu Hao China Painting

Lu Hung Taiwan Video

Miguel Chevalier France Digital Art

Moving Generation Japanese Artists

Nemo Italy Painting

O3 Italy Digital Art

Paul Redfern Italy Installation

Rothko

Santiago Lombardi Argentina Painting

Sara Alseni Panama Sculpture

Sara Manzotti Italy Painting

Sergio Muntoni Italy Installation

Sirkka Laakkonen Finland Painting

Tang Hui China Installation

Vladimir Tarasov Russia Performance Music

W9 Vietnam Photography

program LOVE YES YES

2009-08-29T08:12:00.000-07:00

LOVE YES YES #

NOVEMBER 14th - DECEMBER 31st, 2009

PERMANENT INSTALLATION

5TH AVENUE’S STORES

# IN PROGRESS

03 Italy Video

C.I.A. Not Nationality Installation

FF Maroc Video

Kaj Aune Norwey Video

Leonardo Fibonacci Egypt Installation

Nemo Italy Painting

Safya Hope Taiwo South Africa Installation

Sara Alseni Panama Sculpure

Sarah Jones UK Digital Art

SP 38 France Street art

W9 Vietnam Photography

Tamy Mike Laufer

2009-08-25T18:09:00.000-07:00

Title: "CIRCLES OF LIFE"

– CONCEPT by Tamy Mike Laufer 2009

The idea behind the film came from the Subject ” cyclic of life”.
The first Circle is where we are now. We are born to live out our mortal lives here.During our life we go through different circles.
We grow up and emerging, but remain connected to the center of gravity on the Earth.Our Roots are connected to our mother land, and we will always continue to grow in a different circle of life, childhood, youth, adults, elderly And in the end- death.
Any act of our personal circle of life affects on the other circles of life.
Remember that you are responsible for what you put in your circle, and that your circle will touch many other circles. You will need to live in a way that allows the good that comes from your circle to send the peace of that goodness to others. The splash that comes from anger or jealousy will send those feelings to other circles - You are responsible for both.
We must remember that life changing frequently
We must be flexible and learn to live with these changes.
My VIDEO ART Built from digital 3d drawing images that I was painting on the computer and adding movement and film effects.
The Video art Duration 3:25 min.

My works and video arts are similar to mental puzzles, where you can travel from one point to another by analyzing a picture’s symbolic objects. there is always something for the observer to discover.
I never force my vision or push my philosophical opinion on the viewers, each and every one, can give theirs philosophy to my creation.
My art is surreal reality, all in my head. The viewer take a journey to places just as real as those you might find in this reality.

When I start working on a new scene, it's like enter to a fantasy dream.
like starting your new only virtual world. “Everything is possible” and in
the majority of my works I am trying to combine visual realities, with subconscious emotions and philosophical thoughts.
I create my virtual world, with 3d software and 2d paint software. Using combinations of renderings, lightings, textures and shapes.

Computers don’t make art, people do. Computers are creative tools much sophisticated ones. It’s a fresh creative tool of a new generation.

Biography:

Born in Tel Aviv ISRAEL.
Married plus 2.
Video art and computer drawing Artist.
Lives and works in Ramat-Gan Israel.
Education and Qualifications
1990 Graphic Design on Mac computers.
Continuing education program at Sivan College Tel Aviv.

1981-1983 Technion Graphic Design Degree.

1978-1980 Military service .

1974-1978 High School graduate.
Art and Architecture Subject.

Work Experience

1999-2009 Works as Art Director at a Computer Games company.
1995-1999 Design 200 Hebrew Fonts for PC computers.
1990.1995Teach Art at Elementary schools.

Art Exhibitions
2009-URBAN STILLS-Video Art Festival Miden 2009 Greece.
2009- La Biennale di Venezia Italy, Video Art –MyMementoVid project.
2009- Jafa Museum Tel-Aviv- The ISRAELI ARTIST BOOK.

2008- Wohal-Center Gallery- Ramat Gan- 'METAL DREAMS' .
2007- New York - Jewish Center -'YETZIRA ISRAELIT'.
2006- Tel Aviv AZRIELI- Windows Gallery -'URBANAIM'.
2005- Tel Aviv- ALTERNATIV Gallery - 'Virtual Exhibition'.

Curator: Pietro Franesi

Victor Yepez

2009-08-25T17:56:00.000-07:00

Deepak Chopra outlined three components of the illusion of materialism. First is acceptance. This is total and complete. One accepts people, circumstances, situations, and events. That is the result of the illumination of all the moments experienced in the past. Second is responsibility. Do not blame others for your situation. Behind the meaning of all events there is a hidden meaning of serving your own evolution. One must have a creative response to a situation. All problems contain the seed of opportunity and this awareness allows you to take the moment and transform it into a better situation. Every upsetting situation can become an opportunity for the creation of something new. Tormentor and tyrant become teachers. Third is defenselessness. Your awareness is established in defenselessness. Relinquish the need to defend your point of view; you will gain access to an enormous amount of energy that has been previously wasted. If you force a situation, the resistance will only increase. Don’t stay rigid like a tall oak; be flexible like a reed that bends with the storm and survives.

My piece that I propose for the nybianual is titled “Eternal Forms.” It is a polieptico, mixed-media piece of acrylic and ink on paper and wood. It is a series of square paintings that can be installed in any shape or size. There are infinite possibilities of how it is installed or displayed, like an eternal form. It is to be enjoyed as a creative response to the moment. The space has to do with the dividing line between reality and unreality, angels and demons. It is a subjective idealism mixed with metaphysics.

Biography

EDUCATION
Bachelor of Fine Arts, Specialized in Engraving and Sculpture
Central University, Quito, Ecuador. Graduated 1989
TEACHING EXPERIENCE AND RESIDENCIES
Art teacher, MNIC High School Minneapolis 2007-2009
After school art program, Wellstone International School 2007
After school art program, Minnesota Internship Center 2007
Mosaic project with students, La Escuelita 2007
After School Program, Whittier School 2004-2006
Monkey King project, Whittier School and Minneapolis Art Institute 2005
Mural project, Jefferson School, Minneapolis 2004
Mosaic Art Residence, Highland Park Senior High School 2004
Artist in Residence, Heart of the Beast Puppet Theater, Mayday Parade, Minneapolis 2002-2003
Mosaic Project, Whittier School, Minneapolis 2003
Mural Project, Whittier School, Minneapolis 2002
Summer Village Project, Whittier School, Minneapolis 2002
After school program, La Familia Sculpture Project, La Escuelita, Minneapolis 2001
After school program, Folwell School Mural, Minneapolis 2000
Residence Art and Science North High School, Minneapolis 1999
Mural and Masks, After School program, La Escuelita, Minneapolis 1999
Art and Spanish Instructor, Menlo Park School, Minneapolis 1998
Found Art and Masks Residencies, Highland Park Senior High School, Saint Paul 1997
Professor of Fine Arts, Catholic University, Quito, Ecuador 1992-1994
PUBLIC ART
Glass mosaic sculpture, Wellstone International School, Minneapolis 2007
Hope, mural at Urban Ventures 2007
Murals corner of 41st, 42nd and Cedar Avenue Minneapolis /El Colegio 2006
Mural on 4th Avenue and Lake Street with Urban Ventures 2006
Finalist, East Lake Library Public Art, Minneapolis 2004
Finalist, Loring Bikeway Public Art, Minneapolis 2004
Mural Project at Jefferson School Minneapolis MN 2004
Greenway Parade of Arts, Minneapolis, MN 2002
Jet Black, Sculpture, Hennepin County Government Center, Minneapolis 2002
La Familia, Public Sculpture at Centro, Minneapolis 2001
Healing View, Public Mural, Family Medical Center, Minneapolis 2001
People Places Connections Project at Intermedia Arts, Minneapolis 2001
Marcy Holmes Gateway Public Sculpture Project, Finalist, Minneapolis 2001
Murals painted in La Conga Bar, Minneapolis 2000
Guest Artist in Edina Elementary School murals, Edina 2000
Mural painted with students at Folwell School, Minneapolis 2000
Blue Connections, Public Sculpture, Hennepin County Government Center, Minneapolis 1999
Canto al Pueblo, Mural, St. Paul 1999
Large Sculpture of a man wearing a poncho, part of the La Familia Sculpture Project for Centro, Minneapolis
1998
Large bicycle sculpture for the Saint Paul Classic Bike Tour 1998
Mural Painted in the Crystal Court, IDS Building, Minneapolis 1998
Six Monumental Sculptures for the City of Tulcan, Ecuador 1995
Mural painted for the Catholic University, Quito, Ecuador 1993
Monumental sculpture for the City of Quito, Arte Para Todos, Ecuador 1992
Guest artist on the sculpture of General Eloy Alfaro, la Mitad del Mundo, Ecuador 1992
Victor Yepez vyepez@yahoo.com 612-730-1447
AWARDS AND GRANTS
Grant from COMPAS for work on La Familia, an outdoor sculpture project 1999
Grant from REDA to paint the mural “Canto al Pueblo II” West Side, Saint Paul 1999
Grant from Intermedia Arts for the Mentorship Exchange Program, Minneapolis 1999
Grant from Forecast Public Art and the Midtown Greenway for a large bicycle sculpture, Minneapolis
1997
First place in the competition “500 years of Indigenous Resistance,” Quito, Ecuador 1990
First place in a painting competition for the Ecuadorian Army 1990
Award in a painting competition for the center for Brazilian Studies, Quito 1990
SOLO EXHIBITIONS
Paintings, Sound Bar, Minneapolis Paintings 2007
Painting and sculpture, La Bodega, Minneapolis 2004
Painting, The Lounge, Minneapolis 2003
Painting and Sculpture, La Bodega, Minneapolis 2002
Sculpture and Painting, Art-a-Whirl, Sol y Luna Art Studio, Minneapolis 2001
Sculpture and Painting, Sol y Luna Art Studio, Minneapolis 2001
Sculpture and Painting, Flander’s Contemporary Art Gallery, Minneapolis 1998
Sculpture and Painting, May Day Café, Minneapolis 1997
Sculpture and Painting, Augsburg College Art Gallery, Minneapolis 1997
Sculpture and Painting, La Pena, Minneapolis 1997
Sculpture, Casa de la Cultura Art Museum, Quito 1994
Sculpture, Jacinto y Jijon Camaano Museum of Art, Quito 1994
Sculpture, Filanbanco Gallery of Art, Quito 1993
Sculpture, French Alliance Gallery, Quito 1992
GROUP EXHIBITIONS
Painting, Devorzon Gallery, Beverly Hills, CA 2008
Sculpture and Painting, Flanders Contemporary Art Gallery, Minneapolis 2007
Painting, Carnaval show, Mira Gallery, Minneapolis 2006
Painting and Sculpture, Altitlan Gallery, Minneapolis 2005
Sculpture, 55408 Show, Intermedia Arts, Minneapolis 2004
Sculpture, Northwest Sculpture Competition, Minnetonka Center for the Arts, Minnetonka, MN
2004
Sculpture, 55408 Show, Intermedia Arts, Minneapolis 2002
Sculpture, Dia de Los Muertos, Crearte, Minneapolis 2001
Sculpture and Painting, Gallery 416, Minneapolis 1999
Sculpture, Dia de los Muertos, Crearte Mercado Central, Minneapolis 1999
Sculpture and Painting, several shows with the Latino Artist Group, Minneapolis and Saint Paul
1999
Sculpture, Gateway Sculpture Project, Minneapolis 1998
Sculpture, Flor del Corazon, Crearte, Minneapolis 1998
Painting, The Lounge, Minneapolis 1997
Stone Arch, Art on the Lake, Glensheen Art Fairs 1997
Painting and Sculpture, Gallery 416, Minneapolis 1997
Painting, Hennepin County Government Center, Minneapolis 1997
Sculpture Uptown Art Fair, Minneapolis 1996
199 Several collective shows in Ecuador 1993

Sari Paijarvi

2009-08-25T17:45:00.000-07:00

Fengshui

The main concept of fengshui is qi; the breath of cosmos, cosmic spirit or energy. Qi creates and maintains life. Qi can be found in space, earth and in all the living creatures.
Qi can be understood literally as well; as a character it means a gas-like substance, for example water vapour.

Is it possible to have deeper substance in photography by following fengshui principles? Can images be richer, wiser, healthier, happier by following fengshui? How to capture qi? How could I put these five elements into practise while taking pictures? How about fengshui’s important cardinal points? Should I follow them during my picture-taking?
In traditional Chinese cosmology the universe was described as a living organism, which consisted of three layers; heavenly supernatural world, earthly natural world and the society of humans.
A person had to cherish the balance between heaven and earth, so the unity could function in a best possible way.
...In my point of wiev...also in photography...

Curator: Pietro Franesi

Hannu Palosuo

2009-08-25T17:26:00.000-07:00

Title: Only love is incorruptible

“I long for the land that is not

for all that is, I weary of desiring.

The moon is telling me in silvern runes

of the land that is not,

the land where all our wishes are wondrously fulfilled,

the land where all our shackles fall,

the land where our bleeding forehead cools

in the dew of the moon.

My life was a burning illusion.

But one thing I found and one thing I really gained –

the road to the land that is not.

In the land that is not

there walks my beloved with a glittering crown.

Who is my beloved? The night is dark

and the stars quiver in answer.

Who is my beloved? What is his name?

The heaven arch higher and higher

and human being is drowned in endless mist

and knows no answer.

But a human being is nothing but certainty.

And it stretches its arms higher than all heavens.

And there comes an answer:

I am the one you love and will always love.”

Edith Södergran “The land that is not”

(Translation by Martin Allwood)

I find many similarities between the above poem and my research – the harmony, that particular pace. Södergran's question "who is the beloved one, what is his name?" resounds throughout my works. In my painting, time after time I’m looking back to the person I love and have loved; the object of love may change, not the intensity. This attempt appears like the final, essential consequence of my trip through symbolic rooms, spaces marked by silence, where light is diffused like a stream without origin and where shadows no longer lengthen, defining a space touched by metaphysical echoes, but remain immobile on the ground like the last, fragile vestige of a distant past.

I’m trying to lose the exact connotation of my objects and move towards a different dimension, towards frequencies of entire symbolic, allusive aggregate shifts, my ceaseless game of returning to a human time that seems to have just come to a halt, to a presence that seems to have vanished just before grasping the last signs enclosed in the trivial, necessary objects in my daily life.

Biography

HANNU PALOSUO - Born in 1966 in Helsinki, Finland.

Education: - 1991 - 1993 Universitá degli Studi “La Sapienza” di Roma - History of Art

- 1993 - 1997 Accademia delle Belle Arti di Roma - Painting

Solo exhibitions:

2009 - “Hannu Palosuo”, Verarte, Roma, ITALY

- “Omaggio al sublime di Turner”, MLB Home Gallery, Ferrara, ITALY

- “Bombardieri – Palosuo”, Mart, REPUBLIC OF SAN MARINO

2008 -“My life was a burning illusion”, Galleria De Crescenzo & Viesti, Roma, ITALY

- “Denying one’s destiny”, Galleria Uusitalo, Helsinki, FINLAND

- “The rest of nothing”, Plaza Mayor, Medinaceli, SPAIN

- “When the truth lies”, Willa Mac Museum of Finnish Contemporary Art, Tampere, FINLAND

- “Time will tell”, Maretti Arte Monaco, Monte Carlo, MONACO

2007 - “Mielenkuvia – Immagini dalla mente” (with Tuomo Rosenlund)

Fondazione Pavia, Pavia, ITALY; Fondazion la Sartirana Arte, Sartirana, ITALY

- “The rest of nothing”, Istituto Iberoamericano de Finlandia, Madrid, SPAIN

- “Given the change would I return”, Galleria Nuovo, Lahti, FINLAND

- “When the truth lies”, Galleria Sottocornonove, Milano, ITALY

- “The rest of nothing”, Museo Zorrilla, Montevideo, URUGUAY

2006 - “The dream that dares not to tell its name”, Heinola Art Museum, Heinola, FINLAND

- “The rest of nothing”, Focal Point, Buenos Aires, ARGENTINA

- “In silence dreams are hidden”, Alex Gallery, Washington d.c., USA

- “Harmonische Rhythmen”, Herbergenmuseum, München, GERMANY

- “In Silence Dreams Are Hidden”, Frauatlantica, Miami, USA

- “Happy Days”, Galleria Uusitalo, Helsinki, FINLAND

2005 - “Hannu Palosuo”, Sojoh University Gallery, Kumamoto, JAPAN

- “The Discreet Charm of Bourgeoisie”, Galleria Nuovo, Lahti, FINLAND

- “In Silence Dreams are Hidden”, Galleria De Crescenzo & Viesti, Roma, ITALY

- “Hannu Palosuo”, Gallery Takechi, Kumamoto, JAPAN

2004 - “Hannu Palosuo”, Twelve, Helsinki, FINLAND

- “Childhood Playground”, Galleria Ama, Turku, FINLAND

- “Two for Tango” (with Francesca Tulli), Galleria Uusitalo, Helsinki, FINLAND

2003 - “In the white box”, Galleria d’Arte Contemporanea De Crescenzo & Viesti, Roma, ITALY

- “Hannu Palosuo”, Galleria ArteContemporanea, Catania, ITALY

- “between the sky and the earth”, Gallery Takechi, Kumamoto, JAPAN

2002 - “I need my memories”, Galleria Nuovo, Lahti, FINLAND

- “life is a paradise of lies”, Skanno, Helsinki, FINLAND

- “Hannu Palosuo” (with Marie Brask), Galleria Kapriisi, Kuopio, FINLAND

2001 - “I confess”, Gallery Takechi, Kumamoto, JAPAN

2000 - “Souriants Souvenirs ”, Galleria Romberg, Latina, ITALY

- “Hannu Palosuo - Francesca Tulli”, Galleria Uusitalo, Helsinki, FINLAND

- “Hand made”, Galleria ArteContemporanea, Catania, ITALY

1999 - “Quel che resta”, Galleria Maniero, Rome, ITALY

1998 - “Amore ... un corno”, Associazione Culturale Scandinava, Rome, ITALY

1997 - “Viaggio in Italia”, RipArte, ITALY

- “le Stanze dell’Assenza”, Centro Informazioni Turistiche, Cosenza, ITALY

- “un Altro Tempo”, Il Pavone, Rome, ITALY

1996 - “Autiot Huoneet”, Laulumiesten Ravintolat, Helsinki, FINLAND

- “Attimi Fuggenti”, Capranic’ Arte, Rome, ITALY

Group exhibitions (selected)

2009- “53 Biennale di Venezia”, Venezia, ITALY

- “International Symposium of Contemporary Art”, Damascus, SYRIA

- “Open XII”, Lido, Venezia, ITALY

- “Tabù”, Giffoni, Salerno, ITALY

- “Kesäsalonki”, Galleria Angelo, Pori, FINLAND

- “Expotrastiendas - Art Fair”, with Artel, Buenos Aires, ARGENTINA

- “Billnäs summer”, Billnäs, FINLANDIA

- “ArteFiera09 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

2008- “Quadrato d’Arte”, Galleria L.I.B.R.A., Catania, ITALY

- “Camino al Bicentenario”, Precidencia de Nacion, Buenos Aires, ARGENTINA

- “Art Helsinki 2008 – Art Fair” with Galleria Uusitalo, Helsinki, FINLAND

- “Arte Verona - Art Fair” with Galleria De Crescenzo & Viesti, Verona, ITALY

- “The Italian way of seating”, Index, Mumbai, INDIA

- “XXXIV Premio Sulmona”, Museo Civico, Sulmona, ITALY

- “Taide Liikkeessä”, Skanno, Helsinki, FINLAND

- “Sconfinamenti”, Museo Nazionale di Castel Sant’Angelo, Roma, ITALY

- “ArteFiera08 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

2007- “The Italian way of seating”, Innocenter, HONG KONG

- “Segni di confine”, Istituto Italiano di Cultura, Istanbul, TURKEY

- “Arte Verona - Art Fair” with Galleria De Crescenzo & Viesti, Verona, ITALY

- “L’arte, il colore, il segno”, Centro per l’arte contemporanea, Roma, ITALY

- “XVI Triennale di Arte Sacra”, Celano, ITALY

- “Summer exhibition”, Galleria Uusitalo, Helsinki, FINLAND

- “XXXIV Premio Sulmona”, Museo Civico, Sulmona, ITALY

- “Erwartung – Attesa”, Fondazione Valerio Riva, Venezia, ITALY

- “Fuori Castello”, Studio MIC, Roma, ITALY

- “Baltico – Mediterraneo”, Museo Nazionale di Castel Sant’Angelo, Roma, ITALY

- “Stockholm International Art Fair”, with Galleria Uusitalo, Stockholm, SWEDEN

- “Artour-o art fair”, with Planisferio Art Gallery Firenze, ITALY

- “ArteFiera07 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

2006- “Arte Verona - Art Fair” with Galleria De Crescenzo & Viesti, Verona, ITALY

- Museo de Casilda, Casilda, ARGENTINA

- “Europa aperta”, Trentino, ITALY; Bad Gandersheim, GERMANY; Arezzo, ITALY;

Sarajevo, BOSNIA

- Aida Cherfan fine arts, Beirut, LEBANON

- “Cowparade”, Olympic Arena, Torino, ITALY

- “AAF - Art Fair” with Nordic art Works, London UNITED KINGDOM

- “ArteFiera06 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

- “Glasgow Art Fair”, with Nordic Art Works, Glasgow, UNITED KINGDOM

- Sovintolan Kesägalleria, Kesälahti, FINLAND

- “Cava”, Tahko Spa, FINLAND

2005 - “Plot@art”, Art Gallery Hart, Diest, BELGIUM

- “Cowparade”, Firenze, ITALY

- “Windows on Italian painting”, Embassy of Italy, London, UNITED KINGDOM

- “Artcard”, Sharjah Art Museum, Sharjah, UNITED ARAB EMIRATES

- “El Ritmo del Silencio”, Focal Point, Buenos Aires, ARGENTINA

- “AAF - Art Fair” with Nordic art Works, London UNITED KINGDOM

- “ArteFiera05 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

- “Stockholm International Art Fair” with Galleria Uusitalo, Stockholm, SWEDEN

- “New Horizons in Contemporary Italian Painting”, Miami-Dade, Miami, U.S.A.

2004 - “Contemporary Art from Finland”, Alex Gallery, Washington DC, USA

- “Art Irland - Art Fair”, with Nordic Art Works, Dublin, IRELAND

- “Expotrastiendas - Art Fair”, with Artel, Buenos Aires, ARGENTINA

- “Arte Padova 2004” - Art Fair”, with Galleria De Crescenzo & Viesti, Padova, ITALY

- “Premio Celeste”, Galleria l’Albero Celeste, San Gimignano, ITALY

- “ArteFiera04 – International Art Fair” with Galleria De Crescenzo & Viesti, Bologna, ITALY

- “Art on Paper International Art Fair”, with Nordic Art Works, London, UNITED KINGDOM

- “Rosso”, AT.31 Gallery Seattle, USA

- “Stockholm International Art Fair” with Galleria Uusitalo, Stockholm, SWEDEN

- “AAF - Art Fair” with Nordic art Works, London UNITED KINGDOM

- “Helsinki, Pariisi, Rooma”, Aine Art Museum, Tornio, FINLAND

- “MiArt04 International Art Fair” with Galleria De Crescenzo & Viesti, Milano, ITALY

- “Finlanded”, d’AC, Ciampino, ITALY

- “Nel Segno della Pittura”, Termoli Art Museum, ITALY

2003 - “50/50”, TGB Gallery, Dublin, IRELAND

- “Aspetti della Figurazione in Italia”, Museo Epicentro, Messina, ITALY

- “Occhio”, Ex-Macello Gallery, Benevento, ITALY

- “stART – Itinerant views on Europea arts”, De Side Gallery, Torino, ITALY

2002 - “Welcome 02”, Palazzo delle Esposizioni, Roma, ITALY

- “sul filo dell’arte”, Museo di Offida, ITALY

2001 - “Single Room”, Trevi Flash Art Museum, Trevi, ITALY

- “Il paese delle Meraviglie”, S. Michele Arcangelo, Miglianico, ITALY

- “Il sogno, il segno, il colore”, National Gallery, Amman, JORDAN

2000 - “Visione intima”, Istituto Italiano di Cultura, Rabat, MOROCCO

- “Suomi matkalla”, Galleria Romberg, Latina, ITALY

- “Atelier”, Galleria Comunale d’Arte Moderna e Contemporanea, Roma, ITALY

- “Il sogno, il colore, il segno”, Royal Cultural Center, Amman, JORDAN;

Consolato di Italia, Izmir, TURKEY

- “Sääksmäki 2000”, Voipaalan Taidekeskus, FINLAND

1999 - “Il sogno, il colore, il segno”, Al Assad Library, Damasco, SYRIA

- “Dalla Città ideale alla Città Virtuale”, Museo dell’Arte, San Buono, ITALY

Centrum Imarmiitaliani, Prague, CHECHREP.

- “Arte Duemila”, Temple Gallery, Rome, ITALY

- “I Confini dell’Europa”, Casa delle Culture, Cosenza; Museo Marco Scacchi, Gallese, ITALY

- “l’Arancia era l’unica luce”, Galleria Maniero, Rome, ITALY

1998 - “Roma verso il terzo Millennio”, House of Commons, Rome, ITALY

- “Made in Roma”, Voipaalan Taidekeskus, FINLAND

- “Uomo ambiente territorio”, Museo dell’Arte e dell’Archeologia, San Buono (CH), ITALY

1997 - “Proposta finlandese”, Palazzo Colonna, Marino, ITALY

- “ARTE facto, Palazzo delle Esposizioni, Rome, ITALY

- “Wastelands”, Palazzo Colonna, Marino, ITALY

1996 - “10 Allievi dell’Accademia di Belle Arti di Roma”, Galleria Eralov, Rome, ITALY

1995 - “Storia ed Arte”, Istituto Jean Piaget, Istituto Vincenzo Bellini, Rome, ITALY

- “Sport Militare e Arte”, Foro Italico, Rome, ITALY

Works in public collections:

- Fundacion CABA, Buenos Aires, ARGENTINA

- Fundacion Mundo Nuevo, Buenos Aires, ARGENTINA

- Università di Bologna Representación en Buenos Aires, ARGENTINA

- Università 3 de Fevero, Buenos Aires, ARGENTINA

- Istituto Italiano di Cultura, Buenos Aires, ARGENTINA

- Helsinki City Art Museum, Helsinki, FINLAND

- Heinola Art Museum, Heinola, FINLAND

- Paulo Foundation, Helsinki, FINLAND

- Willa Mac – Museum of Finnish Contemporary Art, Tampere, FINLAND

- OKO Bank Collection, Helsinki, FINLAND

- Nordic Investment Bank Collection, Helsinki, FINLAND

- Voipaalan Taidekeskus, Sääksmäki, FINLAND

- Hospital of Päijät-Häme, Lahti, FINLAND

- Herbergenmuseum, München, GERMANY

- Fondazione Valerio Riva, Venezia, ITALY

- Fondazione la Sartirana Arte, Sartirana, ITALY

- d’AC Collection, Ciampino, ITALY

- Museo della mattonella, Messima, ITALY

- Fendi Collection, Rome, ITALY

- Museo Marco Scacchi, Gallese, ITALY

- Province of Firenze, ITALY

- Sojo University, Kumamoto, JAPAN

- National Gallery, Amman, JORDAN

- Royal Cultural Center, Amman, JORDAN

- Instituto Iberoamericano, Madrid, SPAIN

- National Museum, Damascus, SYRIA

- Handelsbankens Konstsamlung, Stockholm, SVEDEN

- Apotekets Konst Forening, Stockholm, SVEDEN

- Istituto Italiano di Cultura, Ankara, TURKEY

- Consolato di Italia, Izmir, TURKEY

- Museo Zorrilla, Montevideo, URUGUAY

Curator: Pietro Franesi

Luisa Fabris

2009-08-25T16:58:00.000-07:00

Title: INVADIMI SE VUOI

Some symbols have a transcendent meaning in every culture and they art found in expressions of art, religions and so on. Fire and water are commonly accepted as universal symbols.

With the action of burning and like the sun, fire takes the matter and transforms it in light and heat: it is, like water, a symbol of transformation and regeneration. It has the power and the vitality of the sun and, as the sun, the men could control and use it to destroy the darkness in the night.

It needs to be continuously feed, so there is a parallel between fire and life, pointing out that both must feed upon other lives in order to keep alive.

It has a fascinating endless movement that don't respond to the gravity law and his action could be unpreventable and dangerous.

It embraces both good (light-true, vital heat-love) and bad (destruction), because to exist it pretends a sacrificial action (the burning of matter). Fire representing both physical energy (eroticism, solar heat) but also spiritual energy (purification, sublimation).

It brings the material things to their end toward to new immaterial state, so is also related to ultra-life. To pass through fire is symbolic of transcending the human condition

Water is the cradle of the life and everywhere there is water there is life. Fire need to be feed to keep alive, vice versa water sustains the life. On the other hand, also water is a symbol of purification but without destroying. It is a passive element, not powerlessness, that has the capability of adaptability and fluidity. So it could be seen as a feminine principle that it adapts itself to the new life , housing it.

But the water, subject to the power of the gravity, could be violent and explosive that “blows away” everything that it meets.

At the end water and fire are symbols of rites of passage and purification, a cosmic dualism of life and ultra-life.

In the artwork water, the life, sustains the fire, the ultra-life, both with own proper movement. They are complementaries aspects that need each others to exit. Circular concentric “hugs” around the fire symbolizes this and the perfection of the universe, perceptible and transcendent. In the darkness of the night, the flame brings light and the water, as a irregular and not stationary mirror, playing with the colourful reflections.

God, Who for the salvation of the human race has built your greatest mysteries upon this substance, in your kindness hear our prayers and pour down the power of your blessing into this element, prepared by many purifications. May this your creation be a vessel of divine grace to dispel demons and sicknesses, so that everything that it is sprinkled on in the homes and buildings of the faithful will be rid of all unclean and harmful things. Let no pestilent spirit, no corrupting atmosphere, remain in those places: may all the schemes of the hidden enemy be dispelled. Let whatever might trouble the safety and peace of those who live here be put to flight by this water, so that health, gotten by calling Your holy name, may be made secure against all attacks. Through the Lord, amen.

Curator: Pietro Franesi

Cheng Wembo

2009-08-25T09:02:00.000-07:00

1969 Born in Chongqing, Sichuan Province, China
1991 Graduated from Sichuan Academy of Fine Art, Chongqing, China
Currently lives and works in Beijing, China
SOLO EXHIBITIONS
2009 “Broken Series” Guy & Myriam Ullens Art Center, Beijing, China
2008 “Epidemiology ” Michael Schultz Gallery Berlin Greman
2008 “Asian Rays” PKM Gallery Korean
2006 “On the Green”, Courtyard Gallery, Beijing, China
2003 “Back Door”, He Xiangning Art Museum, Shenzhen, China
2000 Galerie LOFT, Paris, France
GROUP EXHIBITIONS
2009 “Blackboard” ShanghART Gallery Shanghai China
“Day-training” Shanghai Gallery of Art, Shanghai, China
“Metropolis Now—Chinese Contemporary Art Exhibition Election”
Meridian International Center Washington USA
2008 “Open ev + a 2008”, Limerick, Ireland
“The Sichuan Movement”, Museum Nasional, Jakarta, Indonesia
“Empty”, Primo Marella Gallery, Milan, Italy
“Portraying Food (and the Absence of It)”, Walsh Gallery, Chicago, USA
“Our Future”, Guy & Myriam Ullens Art Center, Beijing, China
“和解” 教堂画廊波兰双年展波兰 “reconciliation”, 2
“Moscow Biennale of Contemporary Art”, Moscow, Russia
“Chinese Vanguard”, Madrid, Spain
“Thermocline of Art: New Asia’s Waves”, ZKM Center for Art and Media, Karlsruhe,
Germany
“From New Figurative Image to New Painting", Tang Contemporary Art, Beijing, China
“Negative Re-Actions", Shanghai Gallery of Art, Shanghai, China
“Floating: New Generation of Art in China”, National Museum of Contemporary Art, Korea
“Sport in Art”, Museum of Contemporary Art, Shanghai, China
“Energy: Spirit Body Material”, Beijing Today Art Museum, Beijing, China
“New Painting from China”, Kamakura Gallery, Japan
“Departing from the Southwest”, Guangdong Museum of Art, Guangzhou, China
2006 “Art 37 Basel”, Gallery Hyundai, Basel, Switzerland
“Contemporary China”, PKM Gallery, Seoul, Korea
“2006 Shanghai Biennale”, Shanghai, China
“Beyond Dimension: Chinese New Painting”, Nanjing Square Gallery of Contemporary Art, Nanjing, China
“Body and History”, Heng Center, Nanjing, China“Development of Realism: Oil Paintings from Mainland China after 1978”, Taipei City Art Museum, Taiwan
“The Biennale of Contemporary Chinese Art in Montpellier”, Montpellier, France
“Dr.Uli Sigg Collection Exhibition”, Switzerland
“The Second Triennial of Chinese Art”, Nanjing Museum, Nanjing, China
“Follow Me”, Mori Art Museum, Tokyo, Japan
“The Biennale of Beijing”, Beijing, China
“Temporality”, LA Gallery, Beijing, China
“Object System: Doing Nothing”, ARCO2004, Madrid, Spain
“All under Heaven”, Koninklijk Museum, Antwerp, Belgium
“East of the South in the West / West of the South in the East”, Villa Arson, Nice, France
“Fiac 2004”, Paris, France
“Frieze Art Fair”, London, England
“Out of Focus”, 25,000 Cultural Transmission Center, Beijing, China
“Chinart”, Museo Arte Contemporanea di Roma, Rome, ltaly
“Chinart”, Ludwig Museum, Budapest, Hungary
“Beyond Dimension”, Shanghai Exhibition Center, Shanghai, China
2002 “Mirage”, Suzhou Art Museum, Suzhou, China
“Chinese Modernity”, Fondacion Armando Alvares Penteado (FAAP), Sao Paulo, Brazil
“ Paris-Pekin ”, Espace Cardin, Paris, France
“Chinart”, Museum Kuppersmuhle Sammlung Grothe, Duisburg, Germany
2001 “Next Generation”, City Art Center, Paris, France
“On Boys and Girls”, Upriver Loft, Kunming, China, Soobin Art Gallery, Singapore
“1st Chengdu Biennale”, Modern Art Museum, Chengdu, China
2000 “Individual and Society in Art”, Guangdong Province Art Museum, Guangzhou, China
“Contemporary Chinese Portraits”, L’Espace Culturel Francois Mitterand, Perigueux, France
“Future”, Contemporary Art Center of Macao (CACOM), Macao
“Ordinary and the Extraordinary”, Shanghai, China
1999 “'99 Academic Exhibition”, Upriver Gallery, Chengdu, China
“Representing the People”, the Laing Gallery, Newcastle-upon-Tyne, England, M.A.C., Birmingham, England
“Beauty Like Materialism: '99 China New Conceptual Art Exhibition”, Art Department of East China Teacher University, Shanghai, China
“Poly Phenolrene”, Bow Gallery, Beijing, China
“Chinese Contemporary Art Exhibition”, Paris Art Center, Paris, France
Dongyu Art Museum Collection, Dongyu Library, Shenyang, China
“Post-Sensibility: Alien Bodies and Delusion”, Shaoyaoju, Beijing, China
1998 “Confused”, Contemporary Art Fair, Amsterdam, Netherlands
“Alien Phenolrene”, Alternative Space, Beijing, China
1997 “Chinese Video Art 1997”, Central Academy of Fine Arts, Beijing, China
’97 ART COLOGNE, Gallery Urs Meile, Cologne, Germany
1996 “South-Western Conceptual Art Show”, Exhibition Hall, Communications University,
Chengdu, China
1994 “Fragmentation”, Sichuan Academy of Fine Arts, Chongqing, China
1993 “China Oil Painting Biennial", China Art Gallery, Beijing, China
1992 “The First Guangzhou Oil Painting Biennial”, Guangzhou Exhibition Center, Guangzhou, China
“China Contemporary Art Documentation”, Sichuan Province, China
“Art Asian”, Hong Kong Exhibition Center, Hong Kong

Curator: Lu Hao

He Jinwei

2009-08-25T08:34:00.001-07:00

艺术简历：
何晋渭
1967年生于四川南部县
1993年毕业于四川美术学院油画系获文学学士学位
现生活、工作在北京。
个展
2006年《去处——涅磐》北京,长征空间 2005年《去处》北京,长征空间联展
2009年《德中同行当代艺术展》武汉美术馆
2009年 53届威尼斯双年展中国国家馆意大利威尼斯
《开放的地域——前进中的中国新美术》布拉格捷克斯洛伐克国家美术馆，
2008年《TRY TO REMEMBER》香港,奥沙画廊
2008年《学院非学院当代艺术展》上海,艺博画廊
2006年《长征计划 – 延安项目》北京,长征空间2006年《长征资本》北京,长征空间
2005年《景观：世纪与天堂 – 成都双年展》成都世纪新城新国际会展中心 2005年《难以言喻的快乐》墨西哥塔马约当代艺术博物馆 2004年《西部，西部－写意中国》西安美术馆 2003年《八月份联展》北京四合苑画廊 2002年《快乐之园》上海东廊画廊 2000年《重庆辣椒》德国卡塞尔
Biography
1967 Born in Nanbu Country, Sichuan Province
1993 Graduated from Sichuan Academy of Art
Lives and works in Beijing
Solo Exhibitions
2006 Purlieu-Nirvana,Long March Space, Beijing
2005 Purlieu, Long March Space, Beijing
Selected Exhibitions
2009 "German-Chinese Contemporary Art Exhibition " Wuhan Gallery
2009 53 Venice Biennial, Italy
2009 Open area-ahead of China's new art, National Gallery of Prague, Czechoslovakia
2008 "Try To Remember" Hong Kong, Osaga Gallery
Long March-yan’an Project, yan’an,Sha’anxi Province,China
2006 Long March Capital, Long March Space,Beijing
2005 View:Century and Paradise-Chengdu Biennale, New International Exhibition and Convention Center,Chengdu, Sichuan Province, China
2005 Felicidad Indecible-A Selection of Contemporary Art from China,Tamayo Museum, Mexico
2004 West.The West’s Writing of China ,Xi’an Art Museum
2003 August Group Exhibition, Courtyard Gallery , Beijing
2002 Garden of Joyfulness, Donglang Gallery , Shanghai
2000 Chongqing Chili, Kassel, Germany

Curator: Lu Hao

Lan Hung

2009-07-22T04:02:00.000-07:00

Title: Money cat
Media: Video, NTSC,
Length: 2 sec. looping video
Presentation: single monitor or projection with looping video

Maneki Neko (Money Cat)

the story:

The cat "Tama-chan" brings golds to his young master, who had a rich
family but becomes poor because of his gambling-hobby. The young
master decides to follow Tama-chan because it gets thiner and thiner,
and he wants to find out where it finds the golds. Once he realises
that Tama-chan prays to god to exchanges its body to gold, he regrets
his bad hobby but it was too late. He uses the last gold from
Tama-chan and quit his gambling-hobby, becomes rich again afterward.

this is one of the legen of this cat. although it's not the only one
but the "exchanging body to money" (as prostitution) idea comes into
my mind to make this piece.

The work shows two desire of human nature, Material (Money) and Sex
(Genital of a man). Since money was being created, the "artificial
desire" of human-beings was also created. Desire of possession causes
fights, wars, thieves, we say that war is bad, thieves must be
punished.

Sex as a nature desire, which is meant to reproduce generations, and
is defined by moral: porn is dirty, public naked is not allowed,
erected penis is not art (?).

The combination of these two desires, in this tradition symbol, can be
traced, was being used by the society, here is another history about
this cat:

-- One of the most plausible reasons for its rapid rise to popularity
in the Meiji Period involves the sex industry. In the secluded Edo
Period, during which Japan closed its doors to the outside world, an
indigenous "amusement" culture grew side by side with the expanding
power of the merchant class.

Special zones ("Yuukaku;" soap land in modern parlance) sprang up to
provide female companionship (prostitution) and other forms of
merriment. Many "houses of amusement" were equipped with a "good-luck
shelf" on which were displayed lucky charms in the shape of the male
sexual organ. Even today, various localities in Japan still hold an
annual fertility festival, during which a gigantic wooden penis is
paraded through the streets as an offering for good harvests and
prosperity. ---

"if I need money, I wing my dick", prostitution existes in everywhere,
art creation is manipulated by different factors which make artist
prostitute to the art market.

LAN Hungh Biograpy:

Graduated from Taiwan University of Arts and conservatory National of Rueil-Malmaison in France. Hungh's practice consists of performance, music, installations, videos and sculptures, explores the concept of the everyday and life's intimacies. With a mixture of culture his performance functions as a diary and incorporates music and movement of personal experience. His works have reached London, Taiwan, Tokyo, Berlin, Nice, Cologne, Paris, Qadar, Martinique, Switzerland and Italy.

Exhibitions and performances

2009
July 24th "SIGNALS_THROUGH_THE_FLAMES" group show, PHB art space, Berlin
July 10th "Particle Collision" group show, Galerie der Kunst, Berlin
Jun. "#4 Plastic" group show, Aqua Carré Kantine, Berlin
Jun. "Détournement Venise 2009" performance project, 53 Venice Biennale Collateral Events, Venice, Italy
May "#3 Ego" performance, Aqua Carré Kantine, Berlin
May "Knot" International Performance Festival, Georg von Rauch-Haus, Berlin
May "Reliquaries of Empires Dust" group show, Bereznitsky Gallery, Berlin
April "Untitled Star Performance", collaboration with Dovrat ana Meron at .HBC, Berlin
April [nomad / gomad] group show at Aqua-Carré, Berlin
April "Demolition", group show at .HBC, Berlin
Mar. "interzone" group show at Wolstenholme Project, Liverpool, UK
Mar. "Flowmarkt" performance at .HBC, Berlin

2008

Dec. "I'm Horny, Eltn John, and..." 3 days performance, .HBC Karl-liebknecht-Straße 9, 10178 Berlin
Dec. "21,59x27,94 Lettre à Bernard", groupe show, Gallery "Miss China Beauty", Paris
Nov. "Drawing" action at .HBC Kollektiv, Berlin
Oct. "Please do not disturbed" installation and performance, .CHB kollektiv, Berlin
Oct. "TAMAGOTCHI" one week performance project, .BHC kollektiv, Berlin
Oct. "Mallet Forest" performance for "La Nuit Blanche" with Liang Ya-hui, Coopérative, Paris
Oct. 2 Videos for spectacle multimedia "Écart de la poésie"and "La Montagne Tourbillonnante", La maison du culture du Monde, Paris
Jun. "Let's Burn" exhibition with Stephana Schmidt, Gallery-33, Berlin
May Video installation for Wang Sue-ya's music piece for percussionist Daniel Champolini, National concert hall, Taipei
May Video installation for Asia Pacific Quartet's concert, National concert hall, Taipei
April Installation for Chamber Music Works of Taipei Symphony Orchestra, Zhongshan Hall, Taipei
April "Drum and String" performance, Taipei Artist Village, Taipei
Fev. "White hole" exhibition with Tsai Showzoo, Chambord, Taipei
Jan. "SOLOS" installation for solo percussion concert of Wu-shisan, National Taipei University of Arts

2007

"Untitled portraits, Untitled ocean" performance project of Isak Immanuel, Yuko Kaseki and Luigi Coppola, Taipei Artist Village, Taipei
"Let The Children Use It" group exhibition, Kunsthaus Tacheles, Berlin
"Mixed" Group exhibition, Gallery "Miss China Lunch Box", Paris
"L'amour ne peut pas" Collaboration performance, Lunch Box, Paris
Tease Art Fair (with Gallery-33), group exhibition, Cologne, Germany
"Dance with me", solo performance for opening of Tease Art Fair, Cologne, Germany
Collaboration performance, Asian art museum, Nice, France
Collaboration performance for Toyota, Doha, Qadar

2006

Straw to Gold, Solo exhibition, Gallery-33, Berlin
“Sirens” solo performance, Gallery-33, Berlin
“Masque II” Solo performance with live music, Tokyo Bunka Kaikan, Tokyo
“Masque I” Collaboration performance, Art-U Room Gallery, Tokyo
"Anonymous Drawings", group exhibition, Gallery Blütenweiß, Berlin
"Mon petit Poisson" Collaboration performance, Miss China Lunch Box, Paris

2005

"INTIMACY", group exhibition, Gallery “Campbell Works”, London
"La nuit noisy" collaboration performance, la Rue Française, Paris
"Man/ Women/ Chinese Opera" collaboration performance, Miss China Lunch Box, Paris
"Noyau II" Solo (accompaniment: National Taipei Orchestra), Zhongshan Hall, Taipei
"Chu-Go-Hua-Shen" collaboration performance, Dog-Pig art Café, Kao-hsung, Taiwan
"Area" Duet (accompaniment: National Symphony Orchestra) , National Taiwan Concert Hall, Taipei
"Chinese Noise Action" collaboration performance, Palais de Tokio, Paris

2004

"Blue" Solo photo projection, Glaz’art, Paris
"Art’ech" Group exhibition, Paris
"Memmoto", virtual Exhibition, "Nerve.com"

Curatorial

2009 July "SIGNALS_THROUGH_THE_FLAMES" with Shadow cast Organisation, Phb Art Space, Berlin
2009 Mar. "Interzone" group show, Wolstenholme Projects, Liverpool, UK (http://sites.google.com/site/interzoneproject/)
2008 Dec~ 2009 May "TAOMAC - I, II, III" curatorial project for Gallery-33, Berlin (http://gallery-33.com/taomac/)
2008 "Ohne Ohren" for Gallery-33, Berlin

Actor

2008 "Berlin loves you" a short film of Dagmar Weaver-Madsen, main actor
2007 "the secret of the Locksmith" a film of Bowel, main actor
2000 "After raining" a film of Andrew Yang, main actor

Other experiences

2008 Dec. Participate performance "Rotliebend: Read to Deconstruct " of Johanna Bruckner and Melissa Steckbauer, at space "Alberto Ukebana", Berlin
2006 Extra scenes and photos for German film "Zärtlichkeiten"

Curator: Pietro Franesi

Kaj Aune

2009-07-19T07:34:00.000-07:00

Biograpy:

Born in Oslo, Norway

Education
2001 - 2006 Composition Studies at the Royal academy of music, Denmark

Scholarships
Working scholarship from The Danish art foundation 2007, 2008 and 2009

2008	"Soundtag" Public space sound art project, Spor festival, Denmark
	"Paganins stradivarius" (sound installation) and "Der Fliegende Hollánder" (Video) No more sugar for the monkey, Stattbad, Berlin
	"Der Fliegende Holländer" Baer Rideway Exhibitions , San Fransisco
	"Der Fliegende Holländer" (Video installation) Tape modern, Berlin
	"Down the dirt road" Performance, Tape modern, Berlin
	"Phantom of the opera" (Perfomrmance) Hooker projects ,Berlin
	"Down the dirt road" (Video), Berliner kunstsalon
	"Der Fliegende Holländer" (Installation and performance) Uferhalle, Berlin
2005	Nacht und Nebel – Kunst und Aktionsraum Schillerpalais, Berlin
2007	"Guitargrave " Hairentertainment , Berlin
	"Phantom of the opera" Berliner kunstsalon
	"Box 5" Und2, Karlsruhe
	"Hjertets vår" Nordic Music Days, Sweeden
	"Hjertets vår" and "Phantom of the opera" Spor festival, Aarhus
	"Hjertets vår" Shown on Ikono Tv
	"Hjertets vår" selected as "work of the month" by the web-based magazine, Autograf
	"Peder Berntsen entertains with his musical saw in 3/8" Studio performance, Berlin
	"Ingirum imus nocte et consumimur igni" Dygong, Copenhagen
2006	"Guitargrave" Crush festival, Aarhus
	"Hjertets vår" and "Guitargrave" Reload festival Copenhagen
	"Failure" Nordic music days, Iceland
	"Hjertets vår" and "Peder Berntsenentertain with his musical saw in 3/8" Berliner Kunstsalon
	"Hjertets vår" And "Peder Berntsen entertainswith his musical saw in 3/8"
	"For we have brought..." Die erste runde, Berlin
2005-2001	Performances at UNM ,Oslo and stockholm, Crush festival Aarhus, Sirén festival, Göteborg Freiburg.dk Aarhus and Copenhagen, Ilios festival, Harstad, Norway.
	Commision works to Henrik Larsen, Claus Olesen, Ensemble 2000, 4 Elements and Duo debout. Curator: Pietro Franesi

Lai Sheng

2009-07-19T07:07:00.000-07:00

作品名称：《人工描述的现实》

Title: artificial reality

这件作品为空间装置作品，整个作品描绘了当下中国社会现实生活的一个微缩场景。作品通过一个普通的中国家庭室内和窗外的人与环境来表现整个中国社会巨大的发展和改变。作品使用用分离和破碎的平面照片来构成立体空间。作品对这种人工景观和当代社会提出问题，并鼓励观众走入画面，去寻找自己的答案。作品中的照片均拍摄自日常生活，窗外的和镜框中的建筑是北京新的地标性建筑，而电视机里的建筑则是北京胡同的老建筑照片。在非常单调和没有个性的室内环境中的时尚男女象征着对全球化生活逐步适应的中国青年一代，他们对传统文化和当代文化的认知和思考是什么？这一切矛盾的现实都构成了人工描述的现实。

This works for the space device works, the whole works depicting the current reality of Chinese society, a miniature scene.Works through an ordinary Chinese family of indoor and out the window and the environment to the performance of the entire Chinese society, great development and changes.Works with the use of the plane separation and fragmentation to form the three-dimensional space photos. Works of such artificial landscapes and to ask questions of contemporary society and to encourage the audience into the picture, to find their own answers.Photo works were taken from daily life, and the window frame of the construction of Beijing's new landmark building, and the TV in the building is old Beijing Hutong construction photos.In a very monotonous and there is no personality in the indoor environment a symbol of fashion for men and women adapt to life on the globalization of China's younger generation, and their traditional culture and contemporary culture, cognition and thinking what?All this constitutes a contradiction of reality to describe the artificial reality.

Biography:

Lai Shengyu （Lai Sheng）

born in Shaoyang, Hunan Province, P. R. China in 1978, now lives and works in Beijing

Education:

2001 graduated with a Bachelor of Fine Art from the Central Academy of Fine Art

2004 graduated with a Master of Fine Art from the Central Academy of Fine Art

Solo exhibition:

2009 The Lost Place of Heaven, Hunan Provincial Museum, Changsha Canvas International Art at Art Rotterdam, Amstelveen

2008 Asian Contemporary Art Fair, New York

Art Classroom, China Today Gallery, Brussels

2007 They (Ta Men), PYO Gallery, Beijing

2006 They (Ta Men), PYO Gallery, Beijing

2004 There it is and sure it’s Them, Long March Space, Beijing

Group exhibition:

2009 Metropolis, Meridian International Center, Washington D. C.

Chengdu Biennale, Chengdu

Trends in Hunan and Hubei Provinces: A Contemporary Art Exhibition from 1985 to 2009, Guangdong Art Museum, Guangzhou

Transcending Globalisation, Beyond Art Space at 798, Beijing

art Amsterdam, Amsterdam

Future – Together, a nomination exhibition, Arario Beijing, Beijing

2008

Facing reality, the National Art Museum of China, Beijing

Uplifting: An Exhibition of Chinese Contemporary Art, National Art Museum of Singapore, Singapore

New Interest: An Exhibition of Chinese Contemporary Art, Ho-Am Art Museum, Seoul

Dreaming to be a butterfly, Museum of Contemporary Art, Shanghai

Chinese illusion, Casting Museum, Beijing

China International Gallery Exhibition (CIGE), Beijing

Art Cologne, Cologne

ShContemporary, Shanghai

Art Chicago, Chicago

Art Dubai, Dubai

Art Hong Kong, Hong Kong

Korean International Art Fair (KIAF), Seoul

China Now Now, Canvas International Art Gallery, Amsterdam

Beyond reality, Beyond Space at 798, Beijing

Post ’70s Documenta, Beyond Space at 798, Beijing

2007

Floating, National Modern Art Museum of Korea, Seoul

Many Realities，Modern Art Museum of Austria，Vienna

Asia New Wave, ZKM, Karlsruhe

Energy: The first Today’s Documents 2007, Today Art Museum, Beijing

The Body Change of the Dragon, China Square Gallery, New York

Art Fair Dubai, Dubai

Art Chicago, Chicago

Art Cologne, Cologne

KIAF, Seoul

Voltashow, Basel

CIGE, PYO Gallery, Beijing

ShContemporary, Shanghai

Beyond Reality, Beyond Space at 798, Beijing

The New Literati, Osage Gallery, Singapore

2006

Without Boundary, Beijing PYO Inaugural Show, Beijing

Cold Energy: Emotion and Power, PYO, Beijing

Beyond Experience New China, Arario Beijing, Beijing

The Beautiful Life, Song Zhuang Art Museum, Beijing

Body-Out of the Body, Chambers Fine Arts, New York

2^nd Reality, a tour show on contemporary Chinese photography in EU countries

Made in China, Chinese art and film festival, Berlin

China Today: Images of Changing World, Sammlung Essl Museum, Vienna

CIGE, China International Trade Center, Beijing

KIAF, Seoul

Art Cologne, Cologne

Art Beijing, Beijing

Chinese Contemporary Art Documents, The Millennium Museum, Beijing

Beyond Beijing, Hong Kong Osage gallery, Hong Kong

Collection of Chinese Contemporary Art, Tang Guo Bing’s MoCA, Changsha

2005

To each his own, Zero Factory at 798, Beijing

Grounding Reality, a contemporary Chinese art show, Seoul Art Center, Seoul

Transparent Box: Limited space and unlimited extension, Jianwai SoHo, Beijing

2^nd Reality, Berlaymont Building, European Commission, Brussels

Collaboration, a young Chinese contemporary art show, Amsterdam

2004

1^st Da Shanzi Art Festival at 798, Beijing

2003

16^th Nationwide Printmaking Exhibition, Chengdu

8^th Nationwide Exhibition of Three Printing Medium, Chengdu

Sino-Egypt Art Exchange Exhibition, Cairo

2002

7th Nationwide Exhibition of Three Printing Medium, Wuhan

15^th Nationwide Print-media Exhibition, Guang Dong Provincial Museum of Art, Guangzhou

2001

Exhibition of Excellent Work by Graduates from Eight Leading Art Schools of China, China National Gallery, Beijing

International Printmaking Exhibition by China, Japan and South Korea, Seoul

Awards:

2006 The Best Young Artist Award nominated by art critics out of the exhibition titled The Chinese Contemporary Art Documents

Chinese Contemporary Art Award (CCAA) candidates

2004 Excellent Award for MFA graduation work at the Central Academy of Fine Arts

2001 First Prize of Okamatsu Family Art Fund of Japan, and Gold Prize of Graduation Work Exhibition of the Central Academy of Fine Arts

简历

赖圣予 （赖盛）男 1978年 出生于中国湖南邵阳 现工作、生活在北京

2004年 赖圣予毕业于中央美术学院版画系，获硕士学位

2001年 赖圣予毕业于中央美术学院版画系，获学士学位

个展

2009 “失落的天堂”, 湖南省博物馆, 长沙

THEY个展, 鹿特丹艺术博览会，鹿特丹

2008 THEY个展, 亚洲当代艺术博览会, 纽约

“艺术教室”, 比利时今日中国画廊, 布鲁塞尔

2007 THEY 个展, 表画廊, 北京

2006 TA MEN个展, 表画廊, 首尔

2004 “所以是他们及这就是他们”, 798长征空间, 北京

群体展览

2009年

“都市中" - 中国当代艺术展，子午线国际空间，华盛顿

成都双年展，成都

两湖潮流——湖南·湖北当代艺术展1985—2009，广东美术馆，广州

超越全球化，798别处空间，北京

阿姆斯特丹艺术博览会，阿姆斯特丹

“同行未来”提名展，阿拉里奥画廊，北京

2008年

面对现实，中国美术馆，北京

向上中国当代艺术展，新加坡国家美术馆，新加坡

新趣味-中国当代艺术展，湖岩美术馆，首尔

上海MOCA双年展-梦蝶，上海当代艺术馆，上海

中国幻想，铸造美术馆，北京

中国国际画廊博览会，北京

科隆艺术博览会，科隆

上海当代艺术博览会，上海

芝加哥艺术博览会，芝加哥

迪拜艺术博览会，迪拜

香港艺术博览会，香港

韩国国际艺术博览会，首尔

中国现在现在，CANVAS画廊，阿姆斯特丹

后场，798别处空间，北京

70后艺术文献展，798别处空间，北京

2007年

浮游——中国艺术新一代，韩国国立现代美术馆，首尔

多种现实，奥地利国家现代艺术博物馆MOCA，维也纳

亚洲新浪潮，ZKM博物馆，卡尔斯鲁厄

首届今日文献展，今日美术馆，北京

奥地利维也纳SAMMLUNG ESSL美术馆收藏展，美术馆，阿姆斯特丹

龙的变身，中国广场艺术空间，纽约

迪拜艺术博览会，韩国现代画廊，迪拜

芝加哥艺术博览会，表画廊，芝加哥

科隆艺术博览会，表画廊，科隆

韩国国际画廊博览会，表画廊，首尔

VOLTASHOW，韩国现代画廊，巴塞尔

第4届CIGE，表画廊，北京

上海国际当代艺术博览会，上海展览馆，上海

别处现实，798别处空间，北京

新知识份子，新加坡奥莎画廊，新加坡

2006年

无界——表画廊北京开馆展，北京

冷能——情感与力量，表画廊，北京

` 超验的中国当代艺术展，阿拉里奥画廊，北京

歌颂我们美好的生活当代艺术展，宋庄美术馆，北京

此身界外——当代艺术展，前波画廊，纽约

第二现实——中国当代摄影展欧洲巡回展，欧盟

中国艺术与电影节MADE IN CHINA，柏林

今日中国——当代艺术中的转世魅影， SAMMLUNG ESSL美术馆，维也纳

第３届中国国际画廊博览会，中国国际贸易中心，北京

Curator: Lu Hao

http://nybiennaleart.blogspot.com/2009/07/lu-hao.html

Tang Hui

2009-07-19T06:34:00.000-07:00

Project: SQUARE

Size: 120cmX30cmX9

Date: 6/2009

Medium: aluminium\ cardboard\ gold\ pencil sketch

唐晖作品方案

作品题目：广场（系列作品）

作品尺寸：100X30cm─六组

作品材料：铝塑版、白板纸、金属支架

此组作品是要通过最简单的方式诠释“广场”这一特殊环境在人群居住建筑中的特殊性。符号包括：纪念性的建筑、广场、台阶、纪念碑、人物雕塑、植物等。

作品试图营造一种“崇高精神圣地”的“广场”。强调艺术家可以通过接近真实的细致描绘实现一种假想，追忆和暗示。表达无法拟补的现实生活和精神的圣地遗失的遗憾，对记忆中，过去曾经的神圣“广场”的某种追忆的情绪的释放。

材料与制作：金属板上的手绘黑白铅笔素描和金属板上的单色纸制模型、黏土及灰尘。其中黑白素描的内容无真实景物的参照，纯为我的回忆和想像的描绘，历时时间较长。展示四幅。模型的内容也无真实景物的参照，纯为本人手工制作，历时15天左右。展示两组。作品为我的手工描绘和手工制作，强调艺术家的原始自我表达，与观看者的直接对话和沟通。

“广场”系列作品由素描作品4件（看空间情况来确定），每幅作品的尺寸为120X30cm，建筑模型的尺寸单个为120X30cm，将由两个拼接而成，安装完毕后，将灰色尘土洒在模型上面，并且在地面上也有尘土搭配，范围正好是建筑模型板的宽度。

素描作品材料为铝塑板，背面为铝合金框架。

建筑模型为纸制，表面质感处理。模型树木雕塑为轻质纸黏土材料。

Curator: Lu hao

http://nybiennaleart.blogspot.com/2009/07/lu-hao.html

° Lu Hao

2009-07-01T12:46:00.000-07:00

Biography:

1969 Born in Beijing, P.R. China. Lives and works in Beijing.

Main Solo Exhibitions

2005 “The Art of Lu Hao”, Goedhuis Contemporary Art Museum, New York, U.S.A; “Lu Hao’s post-95 works”, Art Now Gallery, Beijing, China; “Lu Hao Solo Exhibition”, Tokyo Gallery, Tokyo, Japan 2006 “Vanishing Homeland: Lu Hao’s New Works in 2006”, He Xiangning Art Museum, Shenzhen, China; “Lu Hao Solo Exhibition”, Arario Gallery, Seoul, Korea; 2007 “Shooting 10000 Arrows at the Same Time”, Galrie Urs Meile, Beijing, China; “Vanishing Homeland”, Vanessa Art Center, Jakarta, Indonesia; 2008 “Landscape”, Beijing Commune, Beijing, China; “Replicated Memories”, Cheng Xindong Space for Contemporary Art, Beijing, China

Main Group Exhibitions

1999 “Beijing in London Contemporary Art Exhibition”, Institute of Contemporary Art, London, UK; “dAPERTutto-The 48th Venice Biennale”, Venice, Italy; 2000 “Our Chinese Friends”, ACC Gallery & Bauhaus-Universität Gallery, Weimar, Germany; “The 5^th Lyon Biennale”, Lyon, France; “Documentation of Contemporary Chinese Art”, Fukuoka Asian Art Museum, Fukuoka, Japan; 2001 “The 7th Istanbul Biennale”, Istanbul, Turkey; “Living in Time, 27 zeitgenössische Kunst aus China”, Hamburger Bahnhof, Berlin, Germany; 2002, “The 4^th Shanghai Biennale”, Shanghai Art Museum, Shanghai, China; “Chinese Art - Contemporary Art from China”, Küppersmühle Museum, Duisburg; “Urban Iconography, the 25th Sao PauloBiennale”, Sao Paulo, Brazil.

2003, “Alors la Chine ?”, Georges Pompidou Centre, Paris, France; 2004“Body - China”, Maseille Museum of Contemporary Art, Marseille, France;“Pusan Biennale“, Pusan, Korea; 2005, “Land on Reality - Contemporary Chinese Art Exhibition”, Seoul Art Center, Seoul, Korea; “Follow Me – Contemporary Chinese Art Exhibition”, Mori Art Museum, Tokyo, Japan; “Wall - Contemporary Chinese Art Exhibition”, Millennium Art Museum, Beijing, China; “Mahjong – Chineieche Gegenwartskunst aus der Sammlung Sigg”, Kunstmuseum Bern, Berne, Switzerland; “Archeology of the Future – The Second Chinese Art Triennial Exhibition”, Nanjing Museum, Nanjing, China; 2006 “Mahjong – Chineieche Gegenwartskunst aus der Sammlung Sigg”, Hamburger Art Museum, Hamburger, Germany; “Pusan Biennale“, Pusan, Korea; “Jiang Hu – Contemporary Chinese Art Exhibition”, Tilton Gallery, New York, USA; 2007

“Documenta12”, Kunsthalle Fridericianum, Kassel, Germany; “China Welcomes You”, Kunsthaus Graz, Graz, Austria; 2008 “The 7^th Shanghai Biennale”, Shanghai Art Museum, Shanghai, China; “Our Future - The Guy & Myriam Ullens Foundations Collection”, UCCA, Beijing, China.

Curator: Pietro Franesi

Info for Artist and Curators

2009-06-23T15:40:00.000-07:00

ARTISTS

WE ARE SELECTING NEW ARTISTS

No participation fee.

Please send to: curator@nybiennaleart.org

1. Image of the proposed artwork

2. Your photo

3 . Your biography

.-.-.-.

CURATORS

We are selecting a new projects

No participation fee.

Please send to: curator@nybiennaleart.org

1. A draft of your project

2. Images of artworks

and biographies of the proposed artists

RECREATING, REPEATING, REASSESSING

2009-06-23T14:59:00.000-07:00

Curator: Pietro Franesi

Artist: Louel (Loucas Ioannou & Elena Kotasvili)

Location: Garden or any other space given by the commission of the NY Biennale.

Duration: 1 hour.

Performers: Loucas Ioannou, Elena Kotasvili.

The project titled recreating, repeating, reassessing will be a live action within an installation.

Recreating the scene:

The scene from David Lynch’s movie Mulholland Drive, where the director chooses an actress, the actress through series of auditions with the sixties imagery, will be recreated for the project. Specifically the installation will consist of a stage obviously influenced by the sixties imagery and character of the movie scene.

The action will take place within the installed set where performer1 will perform an actress auditioning. Performer1 will be performing the song I've told every little star written by Jerome Kern & Oscar Hammerstein II and performed by Linda Scott. Performer2, the director, will be sitting on a director’s chair facing the scene and assessing the acting of Performer1. The audience will not have specifically arranged sits but will be able to move around the scene, becoming part of it.

When performer1 finishes the performing the song Performer2, the director, will thank performer1 and call to the stage, using the phase Next, the next performer.

Repeating the performance:

The next performer will be once more Performer1, who will reappear on the same stage performing the same song. This will be repeated again and again for an hour.

Reassessing the connotation:

This performance is conceived based on the idea of simulacra where a copy of a copy of the original gets made so that the last copy stands alone as its own form, and hence escaping the realm of simulation. The reproduction and reinterpretation of earlier products and works is becoming more prominent in art, which coincides with the amount of reinterpretation and reproduction that is occurring commercially and culturally.

With appropriation and reproduction, Duchamp and Warhol, have set a new platform for interpretation of art as reproduced and mass-produced. Duchamp’s innovation as an artist lying in the gesture of selecting the urinal as an art piece and displaying it in an artistic context, questioning the originality and authenticity of the artistic object. At nearly every level of his work, Warhol challenged and parodied the fantasy of artistic production as an original and unmediated expression. Warhol toyed with social anxieties about reproduction but he refused to set himself up as master or originator. He dispelled the mystique of artistry and genius by comparing artistic and industrial production.

Biography: Loucas Ioannou & Elena Kotasvili

Nationality: Cypriot (EU)

E-mail: i.loucas@gmail.com

Education

Oct 2008 : MA Space Strategies, Berlin Weißensee School of Art and Design
Sep 2004- Jun 2007: BA Honours Fine Art, London Middlesex University. (Graduated with first class Honours Degree)
Sep 2002- Jul 2004: Foundation Diploma in Art and Design, Studio 108 School of Art and Design. Lemesos-Cyprus (Zypern)

Exhibitions

July 2009: No Evidence-performance- Gallery Artacker Berlin, Mitte.
May 2009: Angelica Bertolucci –OPA at Bios (Performance Festival), Athens Art Athina-Bios
May 2009: Vorübergehende Denkmäler -Group Exhibition at Atelier Maren Strack, Berlin.
June 2008: Logomachia-performance- Artconcept Tedentious Art Festival, Saint Petersburg- Russia.
Sep 2007: Group Exhibition- ´´Lemesos National Bibliotheca´´ (Exhibition Space).
May 2007: Session 1-performance- ´´Truman Brewery´´, Bricklane- London.
Dec 2007: Group Exhibition-Byam Shaw School of Art Central Saint Martin London
Sep 2007: Wall Art- Performance in ´´P´´, Lemesos- Cyprus.
Nov 2006: Group Exhibition in the Lemesos National Bibliotheca (Exhibition Space).
Jul 2005: Group Exhibition- Opus Gallery Nicosia- Cyprus.
Dec 2004: Group Exhibition- ´´P´´, Lemesos- Cyprus.

Publication- Internet Blocks

Batterie Free Press Magazine, June 2009, Athens (article for the Performance at BIOS, Angelica Bertolucci)
Artconcept Tedentious Art Festival, Saint Petersburg- Russia (http://artconcept.narod.ru)
2007 Degrees An Art Magazine- UK (www.a-n.co.uk)
the-artist.org- Louel -Loucas Ioannou and Elena Kotasvili- (www.the-artists.org)

SARAS AND BOBS

2009-06-23T14:44:00.000-07:00

Artist: Tamara Erde

The installation is based on Bob Dylan's son called "Sara", and is dealing with the different phases of the couple presented in this song, as a reflection on different anonymous couples, regarding the home space as the reference and playground.

The installation is divided into three small spaces, each one telling the story of the couple in a different stage, while in each part a different singer is singing the song which is projected in a video on one of the house elements that are in the space.

On the walls of each part are hanged the photographs of Saras and of Bobs i chose. Each space has a dominant color on which are all the elements in it are colored.

This is the space reflecting the couple after the breakup- the stage of the song itself. The space is all white.

On two parallel walls facing each other are hanged photographs of Saras and Bobs, all siting in their homes, waiting.

On the middle wall there's a sentence written with white sewing pins - "Everything breathes again the tablecloth is white", and underneath it hanged a cupboard inside which a video of the song is projected. The singes is Joana Levine, a young american singer, who''s filmed singing in a huge industrial barn, while she's trying to create herself an intimate corner, which is almost impossible to do in such a space. she's dressed in a white dress with a long "tail" going far behind her. The dress is hanged on a chair in the space, while the "tail" keeps on out of the two walls space.

The installation is dealing with the relation between the home, private space and the mutual life of a couple especially around expectations. The starting point is Bob Dylan's song called "Sara".

When i was little i used to hear this song and imagine Sara and Bob sitting each in their room, waiting for the other.

And now, i wanted to find my Saras and Bobs- anonymous people, women called Sara and men called Bob, and i took pictures of them- each one sitting in his\her room, waiting for something else.

They all gave me a tiny look at their intimate space and to document their sitting and expecting for something i could only imagine.

And as the freezing of waiting, so does the camera, extracting even more this freezing. And from their spaces and houses i move to the space of the gallery- creating corners of rooms each in a different color and objects remaining from this memory of freezing the time in a personal space.

Biography:

Tamara Erde was born in 1982 in Tel-Aviv, Israel. Tamara received a Bachelor's degree of Design in Visual Communication and Photography, specializing in Video and Motion Graphics, from Bezalel Academy of Arts and Design, Jerusalem. Tamara takes part in various programs and events worldwide, while experimenting with a wide range of audiovisual arts: the performing arts, video, and stills photography. She currently works as director of documentary movies and creator of video installations in Tel-Aviv and New York. Tamara is interested in the grey areas between the various arts: "I aspire to tell my stories and share my thoughts in what I feel is the most appropriate medium for any particular project". This explains why she has been working on various projects ranging from documentary films to installations combining still photographs, videos, sculptures and movement.

Cinema

"Very Heavy Stones" – director, director of photography. 2009

(50 min, documentary).

"Alone is Alone" - director, d.o.p. 2009 (Music video for Hadara Levin)

“Morning Glory” – Director, director of Photogrpahy. 2008

"Rober"- director, director of photography. 2007 (20 min. documentary).

"Breakdown"(dir. Asaf Saban) – Art direction and set design. 2006

"Declare independence" design in Michele Gondry’s clip for Bjork 2007

Exhibitions and Festivals

May 2009 - "Very Heavy Stones" in Napolidanza Film Festival, Italy.

May 2009 - director in KinoDynamique project, Vienna, Austria.

March 2009 - "Rober" in NewFilmmakers Spring Festival, Anthology film archives, New-York,NY.

March 2009 - "Festival VideoDance de Breuille" - "Elbowless" video, and dance photography exhibition, France.

February 2009 - "Saras and Bobs" Installation in P8 Gallery, Tel-Aviv

January 2009 - Secret Art TLV in Bank Leumi auction, Tel-Aviv.

November 2008 - Group exhibitiion, Micro Museum, Brooklyn

November 2008 - Group exhibition A-Forest Gallery (london and NY)

November 2008 - Group exhibition Aeon Logic Gallery, Brooklyn,NYA

October 2008 - Group exhibition "Artishowk", Tel-Aviv.

October 2008 - Participant in "Attitude" 4, Video festival in Macedonia.

October 2008 - Winner to Group exhibition ArtoConecto, Miami.

August 2008 – Group exhibition in Junto Gallery, Brooklyn.

August 2008 – Participant in ARTcamp resiendcy, New-York.

July 2008 - Group exhibition in ExitArt Gallery, New-York.

January 2008 - Group exhibition in JAC gallery, NY

January 2007 – Group exhibition in NYSG Gallery, New-York.

Work Experience

Photographer

Freelance photographer for fashion catalogues and interior design

First photographer's assistant KZNY studio, NY (2007)

Designer

Clutch studio for Animation and Broadcast design (2008)

Zarmon Goldman publicity(2006)

Other Projects in progress

Black Forest – Experimental fiction-Documentary on the black forest

Dir Yassin - Political documentary

Isaura - A Dance and Video Performance in collaboration with Tamar Borer.

Saras and Bobs – video and photography instellation of three parts.

Curator: Pietro Franesi

THE IMMATERIALISM

2009-06-19T05:43:00.000-07:00

Artist: Rothko

About twenty years ago, a great historian of art, Michael Baxandall, wrote a fundamental book for the methodology of the studies, Patterns of Intention, in which, on the basis of a series of principles, he proposes an “inferential criticism” based on nature and fundamental affirmations that we support when we analyze a work of art. That is to say, “If we think or speak of a picture as, among other things, the product of situated volition or intention, what is it that we are doing?” He analyzes, for instance, the expectations that we have towards the work of art as bearer of the formal values of the period (How can we know them? What value they assume for us? How can we be sure that the public is aware of them?) He studies the relationships between the artist and his potential target, the artist and his colleagues, the artist and his client (Did they use common communicational codes? So then, how can we explain the changing of the taste during history? When we speak about “stylistic influence” what do we mean exactly?) Or, again, the relationship between the work of art and the scientific (or philosophical and economical) theories of its period (How can we affirm that the artistic product mirrors them, and if this reflection is intentional or not?)

All this, taking on Baxandall’s previous studies, is made more complicated from the fact that in order to express any critical judgment, we use a language that is not the one of the work of art, that is to say it’s not the visual or sensorial one. Rather, it is the cultural one, which belongs to the written language and bases itself on its own structures that change throughout time.
In the previously quoted text, the critical effort is displayed in four examples, which are different
for technical typology and periods: an iron bridge, the scotch Fort Bridge; Picasso’s Portrait of Daniel-Henry Kahnweiler; Chardin’s A Lady Taking Tea; and Piero della Francesca’s Baptism of Christ.
The chronological order is not respected, because the matter of method, though applied to different objects, must respect a formal rigour that transcends the specificity of the singular case (however bearing it in our mind).

Apart from that, and from some other few anomalous cases of methodological consciousness, especially in the phenomenological sphere, what would happen if the mental forms of contemporary art history were applied to the concrete production of exhibition catalogues, monographic studies or other scientific occasions, to medieval art? Or vice versa? If we read the Renaissance, as the manuals or the students of art history usually do, as “avant-garde” in the modern twentieth-century sense of the term, we will not understand neither its importance, nor its ways of diffusion, nor even the influences on (and from) the client’s taste.

The mimetic distance from the visual reality that an impressionist, or a futurist, or even a landscapist puts in his works, cannot be measured, neither on the basis of motivation nor on material ways, similar to the iconic allusiveness of Byzantine art. There is a feeling of the loss of references in metaphysical art, for instance, like how we feel when we look at Duchamp’s pissoir or bottle dryer, but also at a steady filming of a skyscraper.
Could this be possible in the art of the fourteenth century? The famous pipe, perfectly mimetic, doesn’t aim to be what it is, as the man of an Irish miniaturist of the early Middle Ages pretends to be what he is not, that is to say a material and recognizable reality.
The examples could be numerous.

Most contemporary critics base themselves on the outpouring of known facts regarding the author of the work of art seen in the work itself. From Picasso to Warhol to Haring we have a large documentation, which has built a sort of a daily agenda. But if we go back to the past ages where the information is fewer this agenda we are less likely to find. Hasn’t Cimabue only been a phase of Italian Art for the Anglo-Saxon world, losing a specific argumentum ad personam? (Not by chance, of his 50-year long activity as an artist we know only two concrete facts, as archival data). So, when we have a scheme of interpretation so lacking in details do we need to eliminate in the critical process the need to turn to biographic analysis? Yet, we are still attached to
the idea of genius and formal independence, especially in periods when the artist is quite far from contemporary representation. Some interpretations of medieval production as craftsmen clashed with the fondness for a history of art made of people, as we have been taught by Vasari: Yes, Antelami and Giotto are in fact multiple productive entities, but they are also – and they must be – identifiable as characters of an absolute level.

The idea of materiality opposed to the one of immateriality is not a key of interpretation exclusively based on the present age. Of course, the “immaterial values” that Bacon expresses with material choices in his manner of painting, in relation to the support constituted by the canvas, don’t follow the same of Titian.

Today, when with a plastic card pretending to be money (immaterial money) we buy two letters pretending to be a pair of jeans, or underwear, this doesn’t have a direct parallel to the Middle Ages, even if the signatures of Calvin Klein and Giotto have something in common. They express an immaterial value of quality with reference to the physicality of the object.

We don’t know what Piero della Francesca was thinking concerning the concrete values of his media, in his projects, perceptively rationalizing spaces and shapes. Sometimes we have the impression that he would gladly give up his tables, lime, and chalk if he had available realities that today we would define as more “virtual” (He could be thought as the remote patron of the supporters of Photoshop and AutoCAD).
While we all know very well Bill Viola’s theoretical speculations about technical devices able to overpass the instant temporality, in order to enter a tradition, that is, in the majority of the cases, deliberately and deeply “classic”.

Early on, Petrarch made a distinction between the learned elite and the uneducated public, between the expectations of the ones “who know” and the simpler ones “who don’t,” the stifling nature of ignorant evaluations like “Ah…look! What a nice painting! It seems like a picture!” and, “Look at this nice picture, it really seems like a painting!” always exist, and constitute the basis of a fundamental matter of art history.

From ancient Greek painters on, from Apelle‘s flowers and fruits, which seem so real that the birds crash into the wall in order to pick them up, some of the principles of evaluation have always been how far is the work of art from the reality that it portrays or suggests, if this distance is consciously achieved, or, vice versa, unintentional and not perceived and, finally, if it is permissible to see in the painting, or sculpture, something different from what materially we see.

In this way, without having any claim to offer a homogenous and coherent key of interpretation, or to be particularly original, it could be useful to have a look at some facts of the history of non-contemporary art regarding some ways to look beyond the materiality of the work of art. To show determinate objects, so it doesn’t count as an historical introduction, a sort of “history of art according to us,” but rather as a playful critical hint to highlight the critical course.

If we speak exactly about feeling of a loss of references, why we don ‘t remind ourselves of the scene in which Giotto, at the end of the thirteenth century, places the viewer from the “wrong side” with reference to the common senses? If we speak of “avant-garde”,
why don’t we call back the examples of conscious self-affirmations of the artist, as in Lanfranco’s, Wigelmo’s or Antelami’s eulogies in Northern Italy between the end of the eleventh and the beginning of the thirteenth century?

When we speak about “iconicity” in today’s art production, and nowadays we abuse this concept without having completely understood it, maybe it is better to keep in our mind a concrete example of Byzantine painting, and of the ways of its mental and visual fruition.
One of the biggest masterpieces of the Italian Renaissance is Piero della Francesca’s Legend of the True Cross, in the church of San Francesco in Arezzo.

As we know, the protagonist of the paintings is the sacred wood: born from Adam’s mouth, recognized by the queen of Sheba, hidden by Solomon, collected and employed to crucify the Savior, brought to light from Elena, mother of Constantine, and became the symbol of the new faith and the Christianization of the Roman Empire.

This is an event that is repeated and evocated through many other periods, whose main point is a common material that becomes extraordinary because it constitutes the physical object on which the death of God as human, the theological absolute reality of the foundation of Christianity, is carried out.

This is the only aim of the history.

But there is no crucifixion scene, it is a stage that is skipped, only physically recalled from the painted wooden cross placed on the altar, mentally perceived as the immaterial entity that this pictorial cycle has determined.

Web:

http://www.rothko.com/

http://www.nybiennaleart.org/the_immaterialism_home.htm

Biography: http://www.rothko.com/biography.shtml

Curator: Fabrizio Lollini

Born in Bologna February 3, 1964.

After receiving a Bachelor degree in Classics (University of Bologna), a specialization degree in Medieval and Modern Art History (State University of Milan) and a Doctorate in History and Critique of Art, he taught Medieval Art History and History of Illumination as an adjunct professor at the University of Bologna in Ravenna and at the University “Ca’ Foscari” in Venice.

He has been a researcher of Medieval Art History at the Department of Visual Arts at the University of Bologna, since November 1, 2002 and has received tenure.

* Institutional activities: in the academic years 2002-03, 2003-04, 2004-05, 2005-06, 2006-07, 2007-08 and 2008-09 he taught the course Medieval Art History for all the undergraduate majors of the Department of Humanities and Philosophy; in the academic years 2004-05 and 2005-06 he taught the course Medieval Art History for the specialization degree in Art History at the University of Bologna; in the academic years 2003-04, 2004-05, 2005-06, 2006-07, and 2007-08 he taught the course Art History of the Middle Ages at the School of Specialization for Higher Education, Art and Drawing major of the University of Bologna; he taught the course and workshops of History of Illumination for the School of Specialization in Medieval and Modern Art History at the University of Bologna for the academic years 2003-04, 2004-05, 2005-06, and 2006-07.

* Master: he held meetings on the subject of medieval art history for the Master in Ecclesiastic Cultural Heritage (University of Bologna, Departments of the Conservation of Cultural Heritage and Law) in the academic years 2002-03, 2003-04, 2004-05, 2005-06, and 2006-07; in the academic years 2004-05, 2005-06, 2006-07, 2007-08 and 2008-09 he held lessons on the subject “Nourishment and visual arts” for the International Master in History and the Culture of Nourishment (University of Bologna, Department of Humanities and Philosophy); he was also sent to hold the same course at the partner site of the Université de Tours in France (2006, 2007, 2008 and 2009).

* He collaborated with the organization of exhibitions at the Malatestiana Library of Cesena (“Corali miniati del Quattrocento nella Bibliotea Malatestiana” and “Libraria Domini” 1989; “La biblioteca di un medico del Quattrocento: i codici di Giovanni di Marco alla Biblioteca Malatestiana” 1998; “Due papi per Cesena” 1999; “Scritte dal dito di Dio. Codici biblici e liturgici manoscritti e a stampa nella Biblioteca Malatestiana” 2002), Imola (“Miniature della Biblioteca Comunale”, Biblioteca Comunale, 2006), Ferrara (“Cosmè Tura e Francesco del Cossa”, Palazzo dei Diamanti, 2007), and in Bologna (“Tra le due sponde dell'Adriatico: la pittura nella Serbia del XIII secolo e l'Italia”, Museo Civico Medievale, 1999; “Il libro si mostra. Dal manoscritto alla stampa attraverso i tesori del Convento dell'Osservanza di Bologna”, Convento dell’Osservanza, 2000; “Uomini denaro istituzioni. L'invenzione dei Monti di Pietà”, Oratorio dei Filippini, 2000; “Duecento. Forme e colori del Medioevo a Bologna”, Museo Civico Archeologico, 2000, of which he also curated the didactic and the CD-rom presentation); he participated in the writing of the catalogue of many other exhibitions (to mention one, “Giotto e le arti a Bologna”, Bologna, Museo Civico Medievale, 2005)

* Sole scientific curator of the exhibition “Corali miniati di Faenza, Bagnacavallo e Cotignola. Tesori dalla diocesi” (Bagnacavallo, Biblioteca Comunale, 2000)

* He curated for the I.B.C. (Institute for Cultural Heritage) of Emilia-Romagna the cataloguing of all the illuminated manuscripts of the Biblioteca Comunale Panizzi in Reggio Emilia (1996-97), and of the Biblioteca Comunale dell’Archiginnasio in Bologna (2003-04)

* Professor at Dickinson College’s (Carlisle, Pennsylvania, U.S.A.) overseas program site in Bologna, Italy where he taught The Arts of Italy in the academic years 2005-06, 2006-07, and 2007-08; in 2007 he was sent to the main campus in Carlisle, Pennsylvania, U.S.A. for conferences and lessons.

* Member of the scientific board of several exhibitions (the most recent “Cosmè Tura e Francesco del Cossa. Arte a Ferrara nell'età di Borso d’Este”, Ferrara, Palazzo dei Diamanti, 2007; “Gotico a Imola 1350-1450”, Imola, Musei di San Domenico, 2008)

* Professor for Education courses in Conservation/Preservation of Cultural Heritage (Region Emilia-Romagna, 1998; City of Bologna, 2000; Comunità Montana of Northern Lazio, 2001)

* International partner for projects of the Academia Romena (Romanian State Academy, Bucharest)

* He was invited to many national and international conferences in addition to those organized by the University of Bologna

* He has written more than one hundred publications (including the catalogues of the complete collection of illuminations of Reggio Emilia and Imola's libraries, and many recent sections of catalogues of exhibition)

REVOLUZIONISM

2009-06-19T05:39:00.000-07:00

Curator: Pietro Franesi
Artist: Safya Hope Taiwo

The society's Revolutionary process is usually compared with the Progress. The Faust of Goethe and the darwinian's teachings, together with the Science's infallibility, have often become the new Gods of modern man. Today the economical, social, cultural, religious, environmental, crisis of the Planet, assumes some epochal dimensions and it forces us to reconsider the pillar founding of the modernity.

A new evolution's theory is needed or better a Revoluzionism that, departing from the exploitation of the knowledge as an immaterial good and, therefore, not exhaustible, on one side discuss the concept of human superiority on the other forms of life and, on the other side, extend the Revoluzion's benefits to ampler categories of those that up to today have enjoyed of it and have made that the border between progress and privilege has been very thin.

Finally humans should understand that all scientific and technical discoveries, to be complete and effective, should be incorporated in interior, revaluing a non-material dimension of life.

We call this path: Revoluzionism, proposing with this new word a different technical and technological concept of progress and an exhortation to a parallel reflection on the man and on the relationships among this last and the other forms of life that surround us, near or distant.

Revoluzionism will be an installation of plastic works in Central Park in the run among the Metropolitan Museum of Modern Art and the Museum of Natural History in New York.

The subjects, in scale 1:5 in comparison to the human dimensions, will be turned toward the Natural History Museum symbolically accompanying us in a Revoluzional run from the Contemporaneity, identified with the Art of Metropolitan Museum, to the Nature and the Science that see their landing in the Museum of Natural History, but also the beginning of a new Revoluzionism.

If the humanoids, from the monkey to the man, have been the symbols of the actual modernity, who will the symbol of the new Revolution be?

DISCREET MESSAGES

2009-06-19T05:36:00.000-07:00

Sentiments From The People

Curator: Pietro Franesi
Artist: Helena V. de Vengoechea

Discreet Messages : Sentiments From The People is my way of calling attention to how we are surrounded by verbiage that is significant to someone. These messages aren't your everyday graffiti but - words that I believe artists, as well as the general public, create for individuals who are searching for humor, visual pleasure or guidance.

On a trip to Newport Beach, California I came across some messages about the environment that volunteers wrote in a 300 foot tunnel in Crystal Cove Park. Presently, we are in an environmental crisis so I thought documenting these messages that individuals painted on these walls would be appropriate so I may share them with others through an exhibition on the East Coast.

Although the original messages are not my creation, my goal is to document and share the work of these anonymous artists in exhibitions and publications so that others can enjoy their contributions. By focusing in on, and cropping these visual elements, my intent is to decontextualize the words to a point where they are able to work independently as my own message.

NUB ART

2009-06-19T05:34:00.000-07:00

Curator: Marcello Balzani
Artist: O3

From Nub, nubes, lead us to the evanescent cloud representing the difficult perception of reality, which can be considered as a static representation or a dynamic pick-up, but also to the nub of the problem and centre of immaterial configuration. The spirit of Nub Art consists in the attempt to configure physical space through morphometric gradients associated with postural, behavioral, proxemic, pshycoperceptive features. The body, vibrating in the cloud of geometric reference dots that describe his position in the space, is not only the wrapping.

We can access to an immersive investigative possibility (to surf) and extractive (to cut into slices) of the morphological domain. Bodies and space are no more static or dynamic images in the world, but also Vesalian geometric ready to be cut by Leonardo, associated to psychical an behavioral investigations able to fill the gaps and re-organize the space between the millions of coordinates x, y, z. The space of the traditional geometric representation, in the qualitative density of clouds points, returns to be marginal, fissured, porous, oblique, similar to the one experienced from the conscious life. To enter in the cloud is a little bit as being inside the fog, sailing blacked-out, waiting for the impact…. But also as looking the egg of the snake, the transparency of the wrapping, what we really are inside.

RIEN NE VA PLUS

2009-06-19T05:32:00.000-07:00

Curator / Artist: Clandestine + Artbling + Group

Rnvp is a fantastic strategic board game, produced by C.I.A. Rnvp is a turn-based game for two to six players, and is played on a board depicting a stylized new-era political map of the Earth, divided into forty-five territories, which are grouped into nine continents.
Players control special armies, with which they attempt to capture territories from other players. The goal of the game is "TOTAL WORLD DOMINATION," to control all the territories—or "conquer the world"—through the elimination of the other players. Using area movement, Rnvp ignores limitations such as the vast size of the world, and the logistics of long campaigns.

I AM GOD

2009-06-19T05:27:00.000-07:00

Curator: Clandestine + Artbling + Group
Artist: FF

" I killed the father, the mother and their son. Now I am God "

ORIGIN

2009-06-19T05:24:00.000-07:00

Curator / Artist: Gianluca Ferrari

'Origin' develops the concept of personal experience with one or more subjects 'narrated' with sensibility and using several forms of expression, inside a communitarian space.

'Origin' tries to create a subjective discussion about the passing of time, personal life events and perception of space.
The viewers will be able to compare the work and the subjects and, also have the chance to create a visual and conceptual link to think about the complex dynamics of individual growth.

My aim is to gather, in one place, subjects with different characteristics and experiences and create the positive and negative interaction that exists between them.
Provoking the viewer to think about a human's ability to perceive our existence through other people's lives.

ABORTION

2009-06-19T05:17:00.000-07:00

Curator: Pietro Franesi
Artist: Joyce DiBona

1. When I began this work, the word "Atonement" kept running through my mind. I came to refer to this piece by that name. The definition of atonement is: Amends or reparation made for an injury or wrong; expiation. Reconciliation or an instance of reconciliation between God and humans.

2. From the very beginning of the work it was important to me that I convey that there were two victims; the unborn child and the mother.

3. I believe it was important for a woman artist to create this work.
Pietro Franesi concepted this work, and chose me to create it. I could not know until I was involved in the work itself just how much I could bring to it, and how deeply it would affect me.

4. I wept while I sculpted her face.

5. The dreams fell away for so many women, Marriage, the promise of family, the hopes for real genuine love.

6. As women have sought equality and liberation, all too often they found that the price was to carry all the responsibility…..alone.

7. I personally feel that for so many women the sense of having to make a "terrible choice" has come from a sense of abandonment in a world gone mad.

8. This piece is an Icon of Self Sabotage.

9. Issues of diminished opportunity and survival cloud the ability to see and act for a better future. Hope is lost, and the promise of life is sacrificed.

10. This work is my atonement. It is my offering to those that suffer.

Web: www.joycedibona.com

PEACE

2009-06-19T05:15:00.000-07:00

Curator: Pietro Franesi
Artist: Hirofumi Maeshiba

Among the works of the Japanese film director Yasujiro Ozu there is a movie known as "Tokyo Twilight" (Tokyo Boshoku). In the last scene of the film, the father puts his hands together at the family altar and prays for the soul of his daughter, who committed suicide. The father then leaves for work, as usual. He steps into the hallway of the house in the morning sunlight, and lingers there alone for a while, then begins to walk. He is alone. The setting of that morning can be seen as the end of his world, and it can be seen as the beginning of his world. It is a peaceful, quiet scene, but the whole world has been destroyed, it has completely ended. His leaving in that scene can also be taken as the beginning of the next world.

The work I now want to create is the landscape of the beginning that emerges from the complete destruction of one's own world. That scene is silent, and without a sound, the stillness controls me. I overflow with the energy of a new beginning.

HOLO SEX

2009-06-19T05:13:00.000-07:00

Curator: Pietro Franesi
Artist: O3

Could we go to a whole new level of creating virtual intimacy:
holograms of gorgeous people that will appear to have sex with you, without all that messy conversation, touching, kissing, smelling, fluid exchange, emotional risk or intimacy?
Humm or whoa?

BANANAS

2009-06-19T04:59:00.000-07:00

Curator: C.I.A.
Artist: Sarah Jones

200 years later democracy is overpassed, a wreck ampearing the social renewal. Equality, fraternity and solidarity were ok 200 years ago, for our great-grand parents . Why can a billionaire have just one vote like a homeless? Why not have rich pay taxes to support poor? Democracy must be wrenched like any other obsolete stuff. New York is becoming Bananas because everybody undestand it's despotism era. Will be the beginning of a new society where billiocracy, disparity and egoism, the real engine of the change, will rule. You'll become poorer and we'll become richer. But we'll be generous if everybody stands in his place. Choose the Billionism, help us to build a worse world. Social advertising.

FRUIT OF PASSION

2009-06-19T04:55:00.000-07:00

Curator: Sara Franesi
Artist: W9

Paintings. Mixed Media on Canvas. Gold and Silver leaf.

Since there are cultural expressions, artists are searching for symbols. Where words are insufficient, pictures start. Komski works in this tradition. In the latest works mostly religious, symbols are made of fruit. Intriguing. surprising and in a way logical. The man became man thanks to Eve's apple. The orb is the apple of power.
Food and vegetables in particular stand for fertility and vitality. The Horn of Plenty is filled with fruit, the grape bunch is the symbol for the Last Supper. Maybe Komski prepares a last supper for each religion.

Or, perhaps it is an expression of irony. Or the everlasting circle of life. Or a message to everyone which says: enjoy the healthy symbols, don't die for a cross or a half moon, but eat them and celebrate the life.

Komski studied the old masters profoundly, he translate their ideas to images of the 21^st century in which the observer defines the spiritual content of the symbols.

Installation. Mosaic made of fresh fruits and vegetables in the shape of Bull of Wall St.

Mosaic – is one of the oldest art forms existing on Earth. Mosaics adorn Palaces and Villas, Churches and Synagogs from Ancient Rome to now days symbolizing beauty of nature and human being.

Here is a mosaic of different kind. It made from fresh fruits and vegetables so fragile, that they will deteriorate during the relatively short period of time.

The end of the Old Era, the Wall street crisis, greed of new Aligarh and old Billionaires.

In his installation-mosaic Komski creates a statement.

The Bull of Financial Market, The Bull of Wall Street made of his signature materials, fruits and vegetables goes down.

MOVING GENERATION

2009-06-19T04:46:00.000-07:00

Curator: Eri Otomo
Artists: Yusuke Asai / Keisuke Kondo / Ichiro Endo / Ai Kato / Chiharu Mizukawa

The moving generation - Young artists and today's art scene in Japan

To think of the today's young artists in Japan also means to look back the art scene for the past 10 years.

They are busy to travel around Japan for their projects. Tokyo, Yokohama, Toride, Mito, Osaka, Kobe, Hiroshima, Fukuoka ... from city to city, space to space, project to project as leaving their footprints. There are active art centers or projects where they visit. For the last decade, the number of such organizations have increased linked with the community and they give platforms to artists. Both of them have developed together as meeting people, sharing experience with the community, then create exciting moments.

Next, they come to New York!

(Supported by Japan Foundation)

DO THEY EAT BABIES?

2009-06-19T04:41:00.000-07:00

Curator / Artist: Clandestine + Artbling + Group

On March 22, 2003, police in Bingyan, Guangxi Province seized 28 female babies smuggled in a truck from Yulin, Guangxi Province going to Houzhou in Anhui Province. The oldest baby was only three months old. The babies were packed three or four to a bag and many of them were near death—none were claimed by their parents.
On the morning of October 9, 2004, a person rifling through the garbage on the outskirts of Jiuquan city in the Suzhou region, found dismembered babies in a dumpster. There were two heads, two torsos, four arms, and six legs. According to the investigation, these corpses were no more than a week old and they had been dismembered after cooking.

PERMEABLE SPACE

2009-06-19T04:38:00.000-07:00

Curator: Pietro Franesi
Artist: Carlo Bernardini

Straight fibre-optic lines configuring in relation to the planes of an environment can create a dynamic field of taut forms with the appearance of slender surfaces.

Eliminating real lighting to transform the coordinates of a dark environment with design in light, water and space can be integrated to become the architecture of a "mental design".

A structured three-dimensional form whose volume can from one specific viewpoint be ascribed to a single, flat geometrical figure as the lines are optically superimposed will, from the opposite angle within the installation, go through a series of distinct geometrical figures.

It is not the installed form that adapts to the place, but the place that is transformed to accompany the image. Idea and artwork are thus in the material itself, or in its intrinsic transformation.

The precise mental design can therefore only be composed with strokes of light.

UNSUITABLE FOR MOLDING

2009-06-19T04:35:00.000-07:00

Curator: Pietro Franesi
Artist: Shizu Homma

Unsuitable For Molding is a movement performance work by Shizu Homma.

As we move into a new time in all ways, we will start to become. We have been investigating individuality for sometime, but this uniqueness is packaged and has given way to commercialism. Products packaged in blister plastic, or in plastic bags. We will see less plastic, as our earth's oil economy changes, and as our consciousness expands we will no longer have to consume and buy our identity. This dance is a funeral for the old ways people are molded, and a birth out of a plastic past.

Web:

Biography:

LIGHT ART

2009-06-19T04:31:00.000-07:00

Curator: Pietro Franesi
Artist: Attila Csaji

Light Art is the art of possibilities. In my view, during the last few decades light has increasingly become one of the most important artistic media due to the opto-electronic revolution and to the cooperation of artists, scientists and engineers. I have built my works, the holograms and the laser environment to be presented at NYBA, upon these results. In holography, I am first of all interested in those virtual possibilities which are hidden behind the basic magic of it: it means not reproduction, but visual creation. I am searching for those possibilities which are opened up only by holography. For example, the contestation of the spatial evidences (e.g., Spring for Voltaire), transparency of masses (Hun-Jarrya), floating/levitation (e.g., Light Calligraphies).I would like to show a multimedia light sculpture, mobile in time and space and accompanied by music, too. Today, drawing with light lines is almost magical. It is pulsating, alive, you see it being born from a point of light, the scale of the line drawing is expanded. These potentialities for me are inevitably contrasted with the start, the very beginning, the pictograph – with the drawing of the prehistoric age. These prehistoric drawings could be reinterpreted with light. They could become a virtual reality by which the space of a gallery could be turned into a light-bunting. A thoughtful experience is created which makes an unusual contrast between one of the world's most dynamical cities, New York, and the prehistoric paintings that were one of the first visual experiences of mankind.

Web: http://www.sztaki.hu/~csaji/attila

Biography:

Curator: Pietro Franesi

EXTREME PRELUDE

2009-06-19T04:28:00.000-07:00

Curator: Pietro Franesi
Artist: Gaku

"I am weak, I have done the same mistake over and over again. I see this happening again, and where it all started. He was put into a hospital a week ago. This is all about the next room with a thin wall. Actions he committed three years ago."

I harassed my husband's social worker by crying, noticing my cornered feeling I wrote this diary on November, 2008.

Only a few days ago a miracle occurred.
The theme for the work is "Extreme Prelude".

I will present the state of an extreme prelude before a miracle happened, by mixed media, sculpture, drawings and light.

The structure is a compound architecture created by my memory of past apartments and my husband's parents' house. The various episodes or dream story, happened in different times and places, which are told by characters who do not have eyes. All the episodes are connected through the holes in the walls or the broken windows and the dramatic light direction. Prelude is a step away from a flood of emotion, condensed time, and before an emancipation, struggling in an unstable condition of limbo. This moment may make people have an intense feeling of an end, but this miracle can also happened in an individual's mind.

The world changes first in our mind.

Web:

Biography:

COLOURED HAPPINESS

2009-06-19T04:26:00.000-07:00

Curator: Pietro Franesi
Artist: Cristina Melotti

The room is a trapezium with entrance/entry on the shortest side. The visitor goes through a curtain of beads of various colors and shapes I stringed myself, as if he/she were penetrating though a light playful water fall. The room opens up to three walls of a painted imagery forest, when he turns around he/she sees himself mirrored inside the forest: he/she becomes part of the forest. The floor is painted in shades/waves of blue with scattered fish and plants.

PRISONS

2009-06-19T04:21:00.000-07:00

Curator: Pietro Franesi

Artist: Eddie Alfaro

The prisons we create for ourselves, and how we escape. This is my room.
This is my prison cell. Slowly I am escaping. I use my art to dig my tunnel.
Little by little, I get there. The guards watch me, I have to hide my creativity.
They do not want me to escape.

IMMATERIAL LANDSCAPE

2009-06-19T04:13:00.000-07:00

Curator: Pietro Franesi
Artist: Patricia Yossen

All of the works are visual metaphors used to illustrate the conceptualization and symbolization of space – something that is by definition immaterial and intangible. Things get even more vague if I try to define it as a space governed by emotions and desires – a personal imaginary space to which one runs with the desire to be protected. I refer to this space as "emotional landscape."

An emotional landscape is a refuge – a place where one can rest, recharge, feel protected. At the same time it is not a place where one can live. Since all refuges are temporary, they are not made for permanent habitation, only for rest. It is important to note that I'm talking about this space as a spatially defined place, but not in a geographic sense. This space is internally defined by each human being, and everyone may have very different visions of this place.

These spatial references are found in my work within large empty spaces, in the extensive black fields on the paper, where the entire sheet becomes an acre, a square mile, 10 square miles. The paper becomes the visible filed, the most extensive vista, as far as the eye can see. And what measurement can give the spectator a tool for comparison? In my landscapes, it is the clouds. The clouds are my reference with which to measure space.

Web:

Biography:

CRUCIBLE GARDEN

2009-06-19T04:08:00.000-07:00

Curator: Pietro Franesi

Artist: Kukai

Who wanna can this strapped Calypso? Two cans I'm blazing, under the mistletoe, full back design, fall back this time, Chems botanical, trees is tropical. Igniting unstoppable, puffing an optimo, urban mechanical, quite understandable rolling the Hannibal, eloquent, spit magnificent, bear to grip corrupt, melancholic, equipped with trucks that gyrate, high rate ladies, raise the stakes on style, popping your eyes, out the sockets, dick I cocked it reload don't stop it, chopping up players seeking small profits. I will make an installation called "Crucible Garden" with mixed media sculptures. It is all about my tension of life, where I was born and grew up in NYC, a culture crucible of the world. I believe culture, difference, humor, and the relationship between people and art. I will use this "Garden" idea which is one of the closest entertainment or healing spots for my daily life.

Web:

Biography:

SILENCE

2009-06-19T04:05:00.000-07:00

Curator: Pietro Franesi
Artist: Jungeun Park

Silence is waiting.

Waiting to say something, waiting to hear something.

But, hesitating to say, because it's afraid there will be no response.
This drawing project, "silence is waiting" is about the poverty and the difficulty of communication in a relationship. The project is divided into three different parts, "Listening", "Hiding", and "Talking".

In "Listening", I draw an ear along with symbolic and recognizable images, such as tree, thread ball, or blood. Each drawing indicates how I react to the communication, specifically about listening.

"Hiding" titled "Keeping a silence" shows repetitive drawings of red yarn ball. After exhausting and disappointing of communication in the relationship, the communication becomes meaningless and not helpful for the relationship. It makes me not talking and keeping a silence. It is sometimes timid, but also prudent.

In "Talking", I embroider words on a handkerchief with red thread. It is sometimes a sentence, or a letter that I cannot talk in person to somebody. I show words on the handkerchief, but do not show the front. Viewers only can read the back.

CARRY WATER

2009-06-19T04:01:00.000-07:00

Curator: Pietro Franesi

Artist: Chin Chih Yang

Global warming is a large political issue these days. Scientists warn us that in the next fifty years, water levels will rise so that much of the island of Manhattan will be underwater. Paradoxically, every summer (as the ice caps continue to melt) there is a call to not waste water.

Water is fundamental to life, but how much is too much and how much is too little? Developed countries are fortunate to have seemingly endless supplies of running water in every building, while in undeveloped countries, residents are forced to find and carry water some times long distances to their homes.

For my project, I will carry two buckets of ice water the full length of Manhattan, First day (Oct. 3) – walking from New Museum to Chelsea Art Museum, Second day (Oct. 9) – walking from Chelsea Art Museum to MoMA, Third day (Oct. 11) – walking from MoMA to Metropolitan Museum of Art, Fourth day (Oct. 16) – walking from Metropolitan Museum of Art to Whitney Museum, Fifth day (Oct. 24) - walking from Whitney Museum to Guggenheim Museum. In order to follow the dictum not to waste water, during the walk, I will attempt not to spill any water from the buckets. In addition, to convey the different cultures that are forced to carry their own water, I will research the different ways they do this and at different points along the route, change how I will carry it – with a stick across the back of my neck holding a bucket on either side, or on top of my head, for example. As an additional challenge, I may take the subway for one stop along the route to reflect New York City’s culture.

Copyright 2009 by Chin Chih Yang

http://nybiennaleartpress.blogspot.com/2009/07/ice-emergency-chin-chih-yang.html

# SPECIAL PROJECT

2009-06-19T03:52:00.001-07:00

Curator:
Artist: Elvio Arancio