SanArt

Castello di Rivoli Museum of Contemporary Art 21 September 2010 – 9 January 2011 EXHIBITION, EXHIBITION is a unique and ambitious exhibition that sets out to explore and reflect on the roles of perception and interpretation in the experience of viewing both works of art and exhibitions, revising the ways in which we commonly view them. It brings together artworks characterized by their use of doubling and symmetry; works produced in series – which consequently explores issues of artistic progression and development, change and variation; works that are visually deceptive; work produced in different versions, even produced by different artists, and presents them in a display format that itself will be premised on and follow these ideas.

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Index the Swedish Contemporary Art Foundation 1 September – 17 October 2010 Index shows works by Marcel Broodthaers (Belgium, 1924-76) and Karl Larsson (Sweden, born 1977) in an exhibition entitled Parrot. The presentation of Broodthaers - poet, filmmaker and one of the 20th century's most important European conceptual artists - is concentrated and dense in view of the artist's intense and short career that left a wide range of comprehensive and complex oeuvres.

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Peggy Guggenheim Collection September 4, 2010 – January 9, 2011 From September 4 to January 9, 2011 the Peggy Guggenheim Collection presents Adolph Gottlieb. A Retrospective, the first retrospective exhibition of this great American Abstract Expressionist painter to be shown in Italy. Like those previously dedicated to William Baziotes and Richard Pousette-Dart at the Peggy Guggenheim Collection, this exhibition brings to Italy a better understanding of a generation of New York artists that in the 1950s came to form American Abstract Expressionism.

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Frieze Art Fair 14 – 17 October 2010 Ramin Bahrani, Susan Hiller, Amar Kanwar, Bridget Riley and Wolfgang Tillmans are all part of the international line-up of highly respected artists, filmmakers, curators and cultural commentators taking part in Frieze Talks 2010, from 14 – 17 October.

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Malmö Konsthall 11 September – 14 November 2010 In her poetic works the Brazilian artist Rivane Neuenschwander (born 1967) explores themes like communication, migration and consumption. She works primarily with installations, film and photography. Her art has a special sensitivity and is not always based on the visual but also on sound, smell and sensation.

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Issue 18 of e-flux journal marks the beginning of our third year of publishing, and the start of a “Letters to the Editors” feature, with reader responses to issues or individual essays published in the journal. To offer your own response, write to journal@e-flux.com. *** Robert Smithson’s well-known indictment of art institutions as lobotomizing apparatuses—neutralizing all that is placed within their walls—remains relevant today. But can we say, even in a Smithsonesque manner, that this problem now extends far beyond art museums? What if the edifying and embalming...

But there was one more little surprise: the other Neda. At first glance, her full name, Neda Soltani, could be easily mistaken for that of Neda Soltan. She worked as an English lecturer at the Islamic Azad University, where Neda Agha-Soltan was a student, and was busy with Joseph Conrad at the time. When the video of the dying Neda was sent out to the world and a photo was sought to show her in better days, someone found Neda Soltani’s portrait on her Facebook profile and copied it. Thus, the wrong picture landed in the hands of a hysterical mass media.

A ruin maintains a visual form, but transmits its totality via the virtual. It does not function as a promise of future signification, but as a sort of embodied potentiality. It represents a spatial organization connected organically to other spaces—spaces to which it carries its connotations and quintessence. Seen as a ruin, the work becomes a collection of moments. The ruin concept also accounts for a decay in matter, which installs a temporality specific to material and inaccessible to humans.

Whether produced in the context of the “independent non-profit art space” or the “new contemporary art museum,” in countless panels conducted in English or as quotes in secondary features published in international art magazines that cover an art scene in 1500 words, it is imperative to view the rising liberal institution’s superficial critique of the figure of the corrupt intellectual as self-serving and disingenuous. For that figure serves the liberal institution well by imparting it with the legitimacy and glamour of an oppositional and therefore heroic position, while helping to facilitate a sense of definition—in other words, an identity.

What are the unintended consequences of the artifact’s design, and how does one smoke them out and allow them to reveal their potential? How can new options be inserted into the seemingly closed systems in which these objects function? How can these systems be rendered sites of potential and unexpected plasticity? How is topographical instability introduced into a flattened pattern of uses? What can be done about the fact that these objects are already being put to unexpected uses in which their function is less optimal than their original designed intended?

We actually find this in the writing of all intelligent writers, this understanding of the fact that it is poverty and wealth that make the world go round. Poverty more so, it is the key, it is the salt of the earth; poverty and love are the two most important things. We will have to construct a city on poverty and love. And, in the background is this question of how we can move from poverty to wealth by passing through love. In fact, this is a question we should pose to architects.

Published in issue no. 16 of e-flux journal in May 2010, Anton Vidokle’s polemical “Art Without Artists” essay stimulated a number of heated responses, primarily from curators. Over the summer we asked some of these respondents to put their thoughts in writing, and invited a few others to also register their positions with regard to the problems, if any, in dissolving boundaries between artistic and curatorial work. This is the first in an ongoing series of letters to the editors featuring reader responses to issues or individual essays published in e-flux journal. To offer your...

Questions of Style. The notion of style has loomed large throughout the twentieth century. Long associated with the shallow and the ornamental, or with retrograde categories of art history, the concept needs rethinking now: From typography to toothbrushes, ancillary characteristics have taken center stage. Style may be less superficial than operative—a field of actions and systems that pose new connections between surface and structure.

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LABoral Centro de Arte y Creación Industrial 6 October 2010 – 21 February 2011 LABoral is proud to announce Pasajes. Viajes por el híper-espacio [Passages. Travels in Hyperspace], a selection of works drawn from the collection of Thyssen-Bornemisza Art Contemporary (T-B A21). Consisting primarily of large-scale installation work, the exhibition is designed so as to foster a contemplative stroll, making the body central to the visitor's experience of art and offering a journey into a perceptual dimension that activates the physical, the sensory and the cerebral.

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MUSEION of modern and contemporary art Bolzano 11 September 2010 – 16 January 2011 More than fifty works from major European private collections and the Museion collection will be on show in Bolzano for the artist's first survey exhibition in an Italian museum. One of the most interesting artists from the post-war period, Isa Genzken (Bad Oldesloe, 1948) has established herself as an undoubted point of reference for the developments in the field of plastic art – the theme that Museion has dedicated various appointments to in its exhibition programme this year.

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Bonner Kunstverein 18 September – 31 October 2010 The Bonner Kunstverein is glad to announce THE SPIRIT MOVES ME, MATHIEU RONSSE's first institutional single exhibition outside of Belgium, curated by Stephan Strsembski. A catalogue will be published.

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STUK arts centre 10 September – 12 November 2010 STUK presents Candice Breitz's New York, New York, a multi-channel video installation that grows out of and includes documentation of Breitz's first foray into directing live theatrical performance. The work was originally commissioned in the context of Performa 09.

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Generali Foundation 3 September – 12 December 2010 ALBUM/TRACKS B may refer to a photo album which, empty at first, tells a "(hi)story" only once it is filled with pictures, a story to look at, read, and interpret from ever new points of view. The work of Ana Torfs (born in 1963, lives in Brussels) could also be understood as a tribute to certain personalities and events from history, literature, and film whose tracks— hence the title—and traces the artist pursues and endows with new life. Thus

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ICA London This autumn, the ICA presents the first major project in the UK by Russian collective Chto delat? (What is to be done?). Formed in 2003 and made up of artists, critics, philosophers and writers, the collective sees its diverse activities as a merging of political theory, art and activism.

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Fotomuseum Winterthur 11 September – 14 November 2010
 We have a penchant for cladding, disguising, draping, varnishing and covering up – the crooked wall, the aging face, the leaking oil rig, the dented bodywork. We have a penchant for fixing the world around us to hide the way it came about, the way it evolved or the way it works, so that it can just sit before us to be appreciated and admired like a perfect, glistening box.

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