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Voges Gallery, Frankfurt |
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JOHAN GRIMONPREZ
DOUBLE TAKE.
June 1 - July 17, 2010
"Hundred of birds crashed into New York's
tallest skyscraper, the Empire State Building, and plummeted
to the street" - an event that took place in September 1948 as
cited by The New York Times.
Truth is indeed often stranger than fiction
and DOUBLE TAKE, a film essay by Belgian artist Johan
Grimonprez and written by Tom McCarthy, starts off
with this real-life incident that makes the plot of Alfred
Hitchcock's "Birds" seem less fantastic. Grimonprez takes
Hitchcock's classic film as his guiding theme and catastrophic
metaphor with the aim of targeting the global rise of
fear-as-commodity, in a tale of odd pairings and hilarious
double deals.
It's a story about personal paranoia
reflecting political intrigues. Paying tribute to the themes
of double and mistaken identity, DOUBLE TAKE creates a unique
interpretation of Hitchcock's illustrious television and film
appearances. The film covers the post-World War II period,
characterized by prosperity and consumerism, as well as the
institutionalization of fear as a political tool.
DOUBLE TAKE is an ambiguous reflection on
the relationship between Terrorism and Tourism, schizophrenic
doublings and also questions how our view of reality is held
hostage by mass media. With a good portion of humour, DOUBLE
TAKE invites the viewer to question today's hegemony of the
image, the truth and lies of reality and its influence on our
society, politics and culture.
A selection of drawings and photographs by
Grimonprez complete the exhibition. In addition, there will be
the projection of a Ron Burrage video. Ron Burrage is a
Hitchcock lookalike, who plays the leading role in
Grimonprez's film essays.
Belgian-born artist Johan Grimonprez
already achieved international acclaim with his film essay
Dial H-I-S-T-O-R-Y (1997), shown at documenta X and
Looking for Alfred (2005), which won the
International Media Award (ZKM, Germany) besides others.
Grimonprez's work is included in numerous collections such as
the Centre Georges Pompidou, Paris, The Tate Modern London or
the Neue Pinakothek, Munich.
Image: Johan
Grimonprez DOUBLE TAKE,
2008 Installation View Courtesy Sean Kelly Gallery
VOGES GALLERY nationale suisse
hochhaus Neue Mainzer Strasse 1 60311
Frankfurt Germany
T +49 69 557454
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Dilston Grove, London |
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Sammy Baloji Mémoire
June 2nd - July 4th 2010
CGP London in partnership
with Autograph ABP, are pleased to announce
the first solo exhibition in the UK of Congolese photographer
and filmmaker Sammy Baloji in the newly
renovated Dilston Grove.
Mémoire is a beautifully crafted
and abstracted artist's video, shot in collaboration with the
performance artist Faustin Linyekula, exhibited alongside a
newly commissioned large-scale photographic work.
Shining a powerful spotlight on
contemporary Congolese reality, Mémoire investigates
the body and documents urban architecture, despite
restrictions on photographing public sites. Baloji's artwork
calls for greater awareness of the local consequences of
'development' and reveals the impact of exploitative cultures
on society and the environment.
The exhibition is accompanied by an
artist's book available during the exhibition. The staging of
Mémoire is supported by the Goethe-Institut Nairobi.
The preview of Mémoire on
Thursday, 27 May from 6pm - 8pm features a viewing of
Making Ships in Bottles, a group exhibition with
Rebecca Lennon, Gail Pickering, Olivia Plender, Suzanne
Treister and Bik Van der Pol at CGP London's other venue, Cafe
Gallery - a purpose-built gallery located just a few minutes
away in Southwark Park.
Image:
Sammy Baloji
Mémoire 2006 (film still)
Courtesy of the artist and CGP London
Dilston Grove Southwark
Park London SE16 2DD
T +44 (0)20 7237 1230 E cgp.mail @ virgin.net
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Kunst Halle Sankt Gallen, St.
Gallen |
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HASSAN KHAN EVIDENCE OF EVIDENCE
22 May - 8 August 2010
Hassan Khan is one of
the most active and interesting artists in the Middle East. As
the title of the exhibition suggests, Khan considers the role
of art as a conceptual and linguistic activity. To this end he
makes use of the widest range of media such as video,
photography, performance and installation. With «Evidence of
Evidence» Kunst Halle Sankt Gallen is pleased to present
Khan's largest exhibition so far, which he developed during a
stay of several months in St. Gallen.
With his interest in interdisciplinary
formats and with the inclusion of various cultural and social
locations in St. Gallen, in «Evidence of Evidence» Khan takes
a profound and fascinating look at the process of artistic
production. Prompted by conceptual, formal but also certainly
personal motives, in an intensive examination of the city and
the Kunst Halle as an institution he has created works
concerned with language, gestures and the concepts of art
jargon. These works radically diverge with regard to approach,
medium and understanding of presence in space. The exhibition
has been created and lives from this difference; it stimulates
visitors to discover existing but unpronounced relationships.
Ultimately «Evidence of Evidence» is intended to be a wave in
which meaning continually changes while we move on within
it.
With a minimalist sculpture made up of 44
solid concrete blocks as well as a video work in which Kunst
Halle staff on a theatre stage act out a silent piece made up
of gesture and glances Khan quietly plays the repertoire of
institutional criticism. He thereby emphasises two important
moments in the perception of art: its existence as a physical
statement in space as well as its mediation and communication,
which are not always possible to verbalise. In the process he
also does not forget to see art as an emotional and very
subjective activity and thereby take as a subject the role of
the artist. Personal relationships and memories are thereby
like a thread running through the exhibition. This is
illustrated by photographic reproductions of statuettes which
Khan has owned since childhood and which represent his first
relationship to imagery, manufacture and exoticism as well as
a video portrait of a former partner of the artist.
«Evidence of Evidence» is an exhibition
which calls for attention and thinking on the part of
visitors. Khan's artistic activity - which takes place far
away from any kind of ethnographic parameters - can only be
deciphered in this way. However, he does not forget to provide
visitors with an opportunity to enter his world: thus a small
retrospective in the form of 30 etchings will be on show,
representing key works of his artistic production. «Evidence
of Evidence» is thus not only an exhibition specifically
developed for Kunst Halle Sankt Gallen but also provides a
comprehensive view of Khan's project-oriented and conceptual
working method.
Hassan Khan (*1975, lives and works in
Cairo, Egypt) has had solo exhibitions at the following
institutions and galleries (selection): Galerie Chantal
Crousel, Paris (2004), A Space Gallery, Toronto (2005),
Gasworks, London (2006), Le Plateau, Paris (2007) and Uqbar,
Berlin (2008). He has participated at the Triennials in Turin
(2005) and Yokohama (2008) as well as the Biennials in
Istanbul (2003), Seville (2006), Sydney (2006), Thessaloniki
(2007), Contour, Netherlands (2007), Gwangju, South Korea
(2008) and various other international group exhibitions. Khan
has also composed soundtracks for the theatre and given
concerts at different venues around the world. His album
«tabla dubb» was released by the «100copies label». In
addition to the publication of two books - «17 and in AUC«
(2003) and «Nine Lessons Learned from Sherif El Azma» (2009) -
he has written for numerous newspapers and magazines
worldwide.
Image: Hassan Khan Videostill from
GBRL, 2010 Courtesy of the artist and Kunst Halle
Sankt Gallen
Kunst Halle Sankt
Gallen Davidstrasse 40 CH-9000 St.
Gallen Switzerland T +41 (0)71 222 10 14 E info @
k9000.ch
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i8 Gallery, Reykjavík,
Iceland |
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SIGURDUR GUDMUNDSSON Situations and Other
Photo Works 1970 - 1982
14 May - 26 June 2010
We are very pleased to announce an
exhibition of Sigurdur Gudmundsson's photo
works from the Seventies. This exhibition of works by
Gudmundsson (b. 1942), presents a period in the artist's
career during which he focused solely on the medium of
photography, yet conceived his work in terms of sculpture and
poetry.
These photographs, influenced by Fluxus
and conceptual art, and collectively titled Situations,
construct a certain poetic and philosophical vision through a
series of staged situations where the artist himself is a
stand-in for a persona caught in different circumstances. Each
mise-en-scčne frames human existence in a humorous and pointed
way, confronting the balance between nature and culture.
Gudmundsson juxtaposes his meditations on existential
questions, such as D'oů venons-nous? Que sommes-nous? Oů
allons-nous? (Where do we come from? Who are we? Where are we
going?), with an imaginative interpretation of the environment
and elements of fantasy. At the same time, he positions human
beings as part of nature, and offers viewers a fresh angle on
the interpretation and experience of culture. The artist's
symbolism is drawn from subjects which range from science to
fairytales, though his main source is daily life. Unlike some
of the dry conceptual art of the seventies, Gudmundsson's work
is a dynamic meeting of lyricism, humor, and
melancholia.
Gudmundsson's photographic works are
well-known internationally and can be found in the collections
of museums throughout Europe, although some of the works shown
here have not previously been exhibited. The exhibition also
features sketches and studies from the same period.
Image: Sigurdur
Gudmundsson Study for Horizon,
1975 Courtesy of i8 Gallery, Reykjavík
i8 Gallery Tryggvagata
16 Reykjavík Iceland T +354 551 3666 E info @
i8.is
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re-title.com - Independent directories of
emerging & professional contemporary art
Coming Next
June 2-3 Painting & Drawing
June 9-10 Mixed / Multi Media
June 16-17 Photography, Film & Video
June 23-24 Sculpture / Installation
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BM Box 5163 London WC1N 3XX United
Kingdom
+44 (0) 870 922
0438 |
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