SanArt

Until April 3, 2010, Mike Weiss Gallery in New York presents Remote Control, a multimedia installation including sculpture, photography and drawing by artist Sofi Zezmer. It’s the artist’s third solo exhibition at Mike Weiss Gallery. Work her work, she uses fragments of manmade, mostly synthetic materials.

Sofi Zezmer constructs her works by a gradual additive process dependent on intuitive responses to the materials and objects she uses forming color-saturated assemblages. Among the elements she incorporates are objects such as drinking straws, IV drip tubing, construction netting, film, foil, packing materials, bicycle helmets, cable ties and funnels. “In fusing the elements and breaking them down, Zezmer disrupts the common meaning assigned to the items and calls into question our own familiarity with them. Zezmer’s sculptures suggest irrational Duchampian hybrids of mechanical and biological systems. They are embodiments of the complexity of life in the modern age, ruminations on the omnipresence of mass-production, space travel and biotechnology.” (Excerpt from the press release).

Sofi Zezmer lives and works in Germany. Her work has been exhibited in numerous international gallery and museum exhibitions, such as her solo exhibitions at Museum Wiesbaden, at the 21st Century Museum of Contemporary Art, Kanazawa, Japan and her forty two foot long hanging sculpture, Es Darf Kein Mangel Herrschen, commissioned by the NASPA Bank, Wiesbaden, Germany.

Sofi Zezmer: Remote Control / Mike Weiss Gallery, New York. Opening reception, February 27, 2010.

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If you live in Belgium or if you happen to be in The Netherlands, France or Germany anywhere near Liege/Luik/Lüttich, then you might want to drop by BIP2010, the 7th International Biennial of Photography and Visual Arts because it is one of the most exciting events i’ve seen in a while (and yes, i’m aware i write that a lot but i always mean it you see.) This year’s theme is (Out of) Control. It oscillates between the cheerful and the somber, between the mundane and the extraordinary. I’ll get back to you with a proper report but i couldn’t help singling out a quirky series of photos i discovered at the biennial.

Thomas Mailaender, Acrobatic Squad, 2004

As The Acrobatic Squad demonstrates, Thomas Lailaender has a soft spot for the absurd. He shot a special motorcycle unit of the Préfecture de Police de Paris in full acrobatic mode as they were practicing their hobby at the Bourget military base.

Thomas Mailaender, Acrobatic Squad, 2004

BIP2010, the 7th International Biennial of Photography and Visual Arts takes place all over the city of Liege until April 24, 2010.

Matthew Broderick in "Election"

“There is no such thing as a moral or an immoral book. Books are well written or badly written. That is all.”
— Oscar Wilde, The Picture of Dorian Gray

“What’s the difference between morals and ethics anyway? Anyone?”
— Matthew Broderick, Election

If there’s a tipping point in the minds of those casually interested in contemporary art, it’s almost always on moral or ethical grounds. “He/she did what to a dog/sold what for a billion dollars/did what to a dead cow/did what to a crucifix??” your amazed friend asks, and suddenly all credibility is leached from the subject. You’re embarrassed; you get your coat. Later on, you blog resentfully at your friend’s apparent narrow-mindedness (and defriend him: take that!). Art’s leapfrogging of moral and ethical niceties is a Romantic hangover that once was noble and exciting – Courbet, Baudelaire, 2 Live Crew – and now reeks of ghettoized cliché. It’s the thing people don’t like about contemporary art. And the less contemporary art complies with “real world” ethical and moral structures, the less it is of the “real world.” And yet this is what we value in art (in its current late-Romantic state): its ability to discuss the things avoided in the mainstream imagination. To ask difficult questions. This is the double bind of contemporary art’s relationship with ethics. Its purported snubbing of conventional (Judeo-Christian) ethics both allows it to discuss the undiscussable and removes it from the discussion.

When Santiago Sierra created a gas chamber in Pulheim, Germany, in 2006 – filling a synagogue with exhaust fumes from six parked cars, accessible only for five minutes to visitors wearing gas masks – he whipped up a predictable furore. That most critics of the work (including me) never experienced the work doesn’t really matter: that it raised ethical questions does. This is the unfortunate situation contemporary art gets itself into when tackling sensitive ethical or moral issues: the media storm generated by the work is the work, and the original piece itself is drowned out by the buzz of voices. Art of this kind negates its own irrefutable trump card, its visual singularity. The problem is that visual art’s status as chief cultural question-raiser has been gradually usurped, not just by other more immediate cultural products, like cinema or TV (Inglourious Basterds treats the commercialization of the Holocaust in a far more successful – read, “widely seen” and “aesthetically enjoyable” – way), but by the multiplicity of dissenting voices made possible by the advent of the Internet. Why bother jetting in an internationally recognized artist at spectacular fiscal and environmental cost to raise ethical questions when you can do so yourself, sitting at home, with Doritos crumbs all down your shirt?

Jeff Koons, "Art Magazine Ads (Artforum)," lithograph, 1988. Courtesy the artist.

Or take Andrea Fraser’s 2003 performance/video Untitled, in which she had sex with a collector for $20,000. The video – which is the entire “performance” shot from a CCTV camera above the bed in a posh hotel – does the rounds every so often, and featured in Tate Modern’s Pop Life show last year, a show which itself raised, inadvertently or not, certain ethical issues. Fraser’s video is, of course, about ethics. Neither of the parties involved were knowingly exploited, unlike the majority of paid-for sexual encounters (but those don’t raise questions, do they?). Fraser’s work, like Sierra’s, is made with an eye to its afterlife in text; it doesn’t need to be seen to be known. In the Tate’s Pop Life catalogue, Untitled is described thusly:

Fraser challenges the idea of access as a literalised pun – she is “in bed with the collector”…[she] brings our attention to her deliberate reversal of conventional power relationships by exaggerating the strength of her own position…[she] radically mak[es] visible attitudes of complicity…[and] problematise[s] the ideal of artistic autonomy upon which the art market hinges…

“Problematise,” “brings attention to,” “radical” — this is the sound of art talking to itself. Contemporary art such as Fraser’s and Sierra’s seeks to absolve itself from ethical responsibility by preemptively defining its own ethical framework. The dead language of contemporary art becomes the means by which this is achieved. A work of art might perform in a way that in “the real world” would be considered unethical, immoral, or criminal, but within the nested discourse of the academic write-up, it’s not unethical; it’s raising questions about ethics. And in order to do so, art must think of itself as existing outside of – perhaps even above – the moral framework that structures ethical decisions in other cultural arenas.

Joseph Beuys's "Action Piece," 26-6 February 1972; presented as part of seven exhibitions held at the Tate Gallery 24 Feburary – 23 March 1972. © Tate Archive Photographic Collection.

You’re not really supposed to discuss moral and ethical matters around contemporary art, though. Disdain for moral squares is so entrenched that those questioning the morality of works of art are jeered at from the ramparts as backwards or unsophisticated. Express discomfort at Sierra’s synagogue or Fraser’s fornication or at a range of diverse “question-raising” activities (Andres Serrano, Damien Hirst, the Chapman brothers, etc.), and your contemporary art membership card is permanently revoked. They tear it up in front of your face and leave your headshot with the Art Basel bouncers. It’s a measure of contemporary art’s insecurity that discussions of ethical issues are relegated to the sidelines. No amount of furious Rachmaninovian typing about the New Museum’s show of Dakis Joannou’s private collection, for instance, was ever going to slow its tank-like inexorable forward motion. It’s worth reading some of (not all of; it’s time you can never get back) the wildly disproportionate back-and-forth on that show by New York art bloggers (it’s barely known about outside of New York, by the way). Ethical in-fighting looks comically pedantic to art world outsiders, and it’s easy to forget there’s any art actually involved. And isn’t that what we ought to discuss — the possible ethical dimensions of a post-Romantic art? Anyone?

Bueller?

NewMediaFest’2010
Program of the week 11 – 8-14 March 2010
Feature of the week 11 -
http://2010.newmediafest.org/?p=680

—————————————————-
Feature of the week
—————————————————-
The venues
Manipulated Image Santa Fe (USA) – 12 March
Traverse Video Festival Toulouse (France) – 11-14 March
Oslo Screen Festival (Norway) – 12 – 14 March

—————————————————-
12 March
Manipulate Image @ The Complex Santa Fe – New Mexico (USA)
For the Action’s Sake – screening, project, installation, performance
event – co-curated by Alysss Stepanian (curator of MI) and
Wilfried Agricola de Cologne (curator of VideoChannel/CologneOFF)

–> Manipulated Image selection
artists selected by Alysse Stepanian
John Criscitello (New York), 2- David Kareyan (Armenia)
Ulf Kristiansen (Norway), Jonas Nilsson (Sweden)
Roland Wegerer (Austria), Julia Zastava (Moscow, Russia)

–> The VideoChannel selection is featuring
Daniel LoIocono (Germany), David Jakubovic (USA)
Ioannis Roumeliotis (Greece), Rafael (Belgium)
Ascan Breuer (Germany), Alex Lora (Spain)
Casey Mckee (USA), Daniel Rodrigo (Spain)

more details on http://2010.newmediafest.org/?p=680
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12 March
Traverse Videofestival Toulouse/France – 11-14 March 2010
http://www.traverse-video.org
–> program VIDEO D’ICI ET D’AILLEURS »
shows the Agricola de Cologne videos

“Encoded”, 5:50, 2008
Hairdryer, 2008, 1:00
Mi nombre es Wilfried, 2009, 6:00

more details on http://2010.newmediafest.org/?p=680

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11-14 March 2010
Oslo Screen Festival http://www.screenfestival.no
presents the Agricola de Cologne video
–> Silent Cry
more details on http://2010.newmediafest.org/?p=680

14 March
OSLO Screen Festival – 11-14 March 2010
presetation/screening –
–> CologneOFF IV & V – curated and presented by
Wilfried Agricola de Cologne

featuring

Lin Fangsuo (China), Roland Wegerer (Austria)
Casey McKee (USA), Masha Yosefpolsky (Israel)
Alex Lora (Spain). Anna Porzelt (Germany)
Frank Gatti (France), Istvan Rusvai (Hungary)

more details on http://2010.newmediafest.org/?p=680
—————————————————-
NewMediaFest’2010
10 Years :||cologne
global heritage of digital culture
1 January – 31 December 2010
http://2010.newmediafest.org

director and chief curator: Wilfried Agricola de Cologne

2010 newmediafest.org
—————————————————-

UC SAN DIEGO NEWS RELEASE

March 5, 2010

Media Contact: Doug Ramsey, 858-822-5825, dramsey@ucsd.edu
Gallery Coordinator: Trish Stone, 858-336-6456, tstone@ucsd.edu

Sustainability and Art on Display at UC San Diego’s gallery@calit2

The University of California, San Diego has built a reputation for being one of the “greenest” campuses in the nation, and that reputation extends to an art gallery in the university’s California Institute for Telecommunications and Information Technology (Calit2), which is staging a new sustainability-themed art exhibition.

The gallery@calit2 goes green this spring with an exhibition by Chicago-based artist Sabrina Raaf, whose custom-built robotic sculptures and site specific installations include a series of experiments that address issues of sustainable practice, the construction of social spaces, and prototyping for modular green architecture. Curated by Steve Dietz, “A Light Green Light: Toward Sustainability in Practice” opens Friday, April 2, 2010, with a 6 p.m. panel discussion moderated by UC San Diego visual arts professor Jordan Crandall, followed by a reception.

Dietz has selected five of Raaf’s electronic and responsive artworks to be included in this exhibition: Translator II: Grower, Icelandic Rift, Light Green Light, (n)Fold, and Meandering River. Translator II Grower, a robotic sculpture, measures carbon dioxide levels inside the gallery as they are generated by visitors, and actively draws the measurements in green ink as a field of grass on the gallery walls. Examples of these ink drawings will be on display on the first floor of Atkinson Hall. The Icelandic Rift sculptures are electronically-powered works that include mechanical systems, representing far-future visions of agricultural production and mineral mining in zero-g environments. Prototypes and concept animations for Light Green Light, a lamp that unfolds into a netted tent for sleeping, and (n)Fold, a flat-fold design for dew harvesting and passive solar cooking, are also on view in the gallery. Meandering River is a sculptural installation made up of thermal screen material that has had its surface milled robotically with meandering river designs. Its installation form is derived from self-organizing and meandering river mathematics. This thermal screen installation is also designed to cascade vertically in order to create a climbing surface for vines and thus support the growth of a vertical garden. A cascading instance of the Meandering River sculpture is hung in the six-story window of the Atkinson Hall stairwell, and a second, river-type instance will be viewed in the hall area on the first floor.

Raaf works in experimental sculptural media and designs responsive environments and social spaces. Her work has been presented in solo and group exhibitions at the Brandts Art Center (Denmark), Transitio_MX (Mexico City), Sala Parpalló (Spain), MejanLabs (Stockholm), Lawimore Projects (Seattle), the Edith-Russ-Site for Media Art (Germany), Stefan Stux Gallery (NYC), Ars Electronica (Linz), Museum Tinguely (Basel), Espace Landowski (Paris), Artbots 2005 (Dublin), Kunsthaus Graz (Austria), ISEA (Helsinki), the San Jose Museum of Art, and Klein Art Works (Chicago). The artist is the recipient of a Creative Capital Grant in Emerging Fields (2002) and an Illinois Arts Council Fellowship (2005 &2001). Reviews of her work have appeared in Art in America, Contemporary, Chicago Tribune Sunday Magazine, Leonardo, Washington Post, and New Art Examiner. She received an MFA in Art and Technology from the School of the Art Institute of Chicago (1999) and is currently an Associate Professor in the School of Art and Design at the University of Illinois at Chicago.

Steve Dietz is Founder, President, and Artistic Director of Northern Lights.mn. He was the Founding Director of the 01SJ Biennial in 2006 and is currently Artistic Director of its producing organization, ZERO1: the Art and Technology Network. He is the former Curator of New Media at the Walker Art Center in Minneapolis, Minnesota, where he founded the New Media Initiatives department in 1996.

“A Light Green Light: Toward Sustainability in Practice”
by Sabrina Raaf
Curated by Steve Dietz
Friday, April 2, 2010 – Friday, June 4, 2010

Friday, April 2, 6 p.m. in Calit2 Theater, Atkinson Hall, UCSD
Panel Discussion with Sabrina Raaf and Steve Dietz
Moderated by Jordan Crandall, Associate Professor, Visual Arts, UCSD
Welcome by Ramesh Rao, Director, UCSD Division, Calit2

Friday, April 2, 7 p.m. in gallery@calit2, Atkinson Hall, UCSD
Opening Reception

Events are FREE and open to the public.
RSVP requested to Trish Stone, Gallery Coordinator, at tstone@ucsd.edu
http://gallery.calit2.net

Santiago Forero, The Riot, 2009
from the series Action Heroes, digital print

Two films about Palestine by noted artist Suha Shoman deal with critical issues concerning the Israeli occupation of her homeland.

Charif Benhelima’s photographic project, Welcome to Belgium, illuminates the plight of Arab immigrants in Europe. An essay by noted Belgium painter, Luc Tuymans, describes Charif’s project as “a testimony, beginning at the beginning and covering a research period lasting nine years.”

Santiago Forero presents a singularly perceptive perspective on life in the United States through his cryptic photographs. Santiago is a graduate student from Colombia attending the University of Texas.

Saluto Romano by Czech artist Martin Zet is a series of photographs portraying himself as an object within various environments. This is his ongoing attempt to find freedom and his true identity in a post-communist world.

Houston artist Ed Wilson’s steel sculptures are based on photographs that he took of concentration camps in Germany. They convey moral outrage at the same time as they represent his powerful sculptural identity. His photographs will be exhibited along with his sculptures.

Station Museum is also presenting a group of mystical paintings by Elliot Wolfson who, in addition to being an artist, is one of the world’s most important authorities on the Kabbalah, understood as esoteric teachings concerning about mysticism and nature of the universe.

These exhibitions will be on view:
March 13, 2010 – May 30, 2010

Station Museum is located in Midtown on the corner of Alabama and La Branch.
The museum is open Wednesday through Sunday, 11 a.m. – 6 p.m. Admission is free.
For more information or to schedule a tour, please call or visit our website. www.stationmuseum.com

This is a first look at The Armory Show 2010. This year’s edition introduces Armory Focus, a new section that features an important art community every year. The new section is premiering with Berlin, presenting 21 galleries from Germany’s capital. In total, The Armory Show features 267 galleries from 31 countries.

The Armory Show 2010, Vernissage, March 3, 2010.

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LPM 2010 – LIVE PERFORMERS MEETING
LIVE VIDEO PERFORMERS, VISUAL ARTISTS AND VJ MEETING
27 28 29 30 May – Rome

LPM – Live Performers Meeting: international meeting of live video performers, visual artists and vjs is back with a new 8th edition.

Rome 2009 edition, registered the presence of 362 artists from Italy, Portugal, France, Germany, Canada, Hungary, United Kingdom, Poland, Spain, Uruguay, Latvia, Switzerland, Netherlands, Ireland, Sweden, Mexico, Greece, Denmark, United States, Austria, Australia, Turkey. During four days, 289 performances, workshops and showcases gave life to the 900 square meters of Brancaleone, setup with 15 projectors and screens.

For the second consecutive year, LPM takes place in an exclusive location, the long-standing Brancaleone that with its structure, perfectly fit the growing needs of a meeting which year after year has definitely broadened its range of contents, artists and audience.

The new edition is coming soon, and we only miss your contribution!

For the LPM 2010 themes, along with further background infos, check the ‘concept’ page on the LPM homepage:

LPM 2010 maintains the spirit of a meeting, which has been its main characteristic since the very first edition. It is conceived to be a place for comparison and exchange of informations and ideas, experimentation is one of the founding elements of its ideology. LPM is a non-profit organization, every gained fund is invested back to support the research and development of the live visual field.

Subscription to join LPM is FREE and is open since now until the 10th of April, 2010. For further details about subscription, check the “participate” webpage:

Please check out the LPM website for further informations about this edition and to surf through the archive of previous editions:

The LPM team is ready to answer your questions, and hope you can come to Rome and contribute: its going to be the best edition ever!

LPM is produced by Flyer Communication , organized by , , and FLV , thanks to the corporation of our international partners.

Eli Klein Fine Art
462 West Broadway, 212-255-4388

Soho

March 4 – April 22, 2010
Opening: Thursday, March 4, 6 – 9 PM
Web Site

ZHAO BO: VIBRANT CITY

Eli Klein Fine Art is proud to present Zhao Bo’s second solo exhibition in New York, his first at the Gallery. Through his paintings, Zhao Bo records the monumental cultural and political shifts in China, shown from the perspective of Chinese people. China’s opening to the West in the late 1980s ushered in a new era and these paintings provide a snapshot into this unique period. He clashes Communist and contemporary icons together in the same scene, revealing that Chinese society is more interested in adapting to contemporary culture than adhering to staid traditionalism.

Mocking the social realist propaganda of Communist China, Zhao Bo replaces the ideal Chinese worker or citizen with an ostentatious cartoon. The bright colors and enthusiastic poses express the vitality and exuberance of this new Chinese generation. Rather than revering Chairman Mao and principles of Communism, these wide-eyed figures revel in the glow of billboards and luxury goods. Yet, their placement in front of important Communist markers, such as Mao’s tomb or signs proclaiming, “Long live the people,” is a constant reminder of the government’s presence.

Zhao Bo received his Bachelor of Fine Arts from Sichuan Academy of Fine Arts in Chongqing, China. His works have been exhibited in museums in China and the United States including the Denver Art Museum, the Museum of Fine Arts, Houston, the Art Museum of Shanghai, the He Xiangning Art Museum in Shenzhen, and the Art Museum of Chongqing.

ZHANG GONG: MISS PANDA

Eli Klein Fine Art is proud to present Zhang Gong’s first solo exhibition in the United States. Zhang Gong’s work parodies instantly recognizable Western art, demonstrating the effect of Western popular culture on contemporary Chinese society.

In his most recent works, Zhang Gong incorporates cartoon characters with scenes from modernist Western paintings and other popular images. These juxtapositions simultaneously satirize and question ideas about what constitutes high art and originality. His own unique creation, Miss Panda, interacts with the Western characters in chaotic scenes. Miss Panda often finds her way into famous Western paintings, reminding the viewer that Western art, once banned, has now been assimilated into the collective consciousness of modern Chinese society. Through his works, Zhang Gong brings historic and contemporary art into dialogue with one another.

Zhang Gong’s paintings record the change in Chinese society and a shift toward a more global outlook. The characters from Western media are instantly familiar to their audience. The cartoon nature of the pieces implies humor, yet the subdued colors, repetition of the characters, and incongruity with their surroundings causes tension.

Zhang Gong received his Master of Fine Arts from the Central Academy of Arts and Design in Beijing and is currently a Professor in the Animation Department at Qinghua University. Zhong Gong’s works have been exhibited at the Kunstmuseum in Bonn Germany, the Singapore Art Museum, and the Museum of Contemporary Art Shanghai. Zhang Gong’s animations have been selected for prestigious international film festivals throughout Asia, Europe, the United States, Australia, and Latin America.

_Both exhibitions will be on view at Eli Klein Fine Art from March 4 through April 22, 2010 and are accompanied by a fully illustrated catalogue published by the Today Art Museum in Beijing, China. Both artists will be present for the opening reception on Thursday, March 4 from 6 – 9 PM.

For further information, please contact the gallery at (212) 255-4388 or info@EKfineart.com._

Participant Inc.
253 East Houston Street, 212-254-4334

East Village / Lower East Side

February 28 – April 11, 2010
Opening: Sunday, February 28, 6 – 8 PM
Web Site

Participant Inc. is pleased to present When it rains, all shines black, the first U.S. solo exhibition of Barcelona-based artist Alejandro Vidal. Known for his large-format photographs, videos, and installations that assert a post-cinematic aesthetic of conflict, seen through a generational lens that distinguishes the obsolescence of transgression in societies obsessed with control, the exhibition will consist of new works in photography and video. Vidal’s new photographs for When it rains, all shines black are a loose re-staging of a common form of popular political dissent in
Latin American countries, involving the symbolic washing of the national flag in front of government buildings. Shooting at night from a hermetically remote location, usually from inside a car and illuminated only by the glare of headlights, Vidal de-objectifies the original act through distancing strategies, insinuating a subtle yet threatening rupture. The location and actions appear inscrutable, foreboding a dystopic resistance or enacting a B-movie-esque ceremony of an imaginary secret society. The flags are unidentifiable, and the actors are theatrically styled to produce a “vernacular upheaval, insinuating those forms of cultural subversion that are more powerful for going undetected.” (Erica Papernik, Crime and Punishment, Tallinn Kunstihoone, 2006).

Vidal’s Firestorm (5 min. video/sound) covertly announces the globalization of the image of terror. Images of fireworks, ripped fromthe net, burst to the sound of explosions from real, ‘live’ conflicts. Conflicts of the analog age were generally specific in location and duration, but today’s digital media release them into something of almost limitless scope, universal location, and endless loop. Real violence has evolved into a semiotic commodity, pointing the way to a new aesthetic of terror, a new condition of life characterized by personal and collective paranoia, routine disorder, mayhem, and imperceptibly but rapidly eroding civil liberties. “With the end of the classical form of war between sovereign states, it becomes clear that security finds its end in globalization: the idea of a new planetary order, which is, in truth, the worst of all disorders. Because this condition requires constant reference to a state of exception, the measure of security works towards a growing de-politicization of society, irreconcilable with democracy.” (Giorgio Agamben, “On Security and Terror,” Frankfurter Allgemeine Zeitung, September 20, 2001)

Also included will be a new series of twenty small-scale photographs, Somewhere in a great country (2010), comprised of imagery taken from captured low resolution Internet videos. These images belong to popular celebrations and festive acts like Independence Day, political rallies, etc., in which fireworks are used. However, there is scarcely any human presence in the photos, resembling instead acts of dissent or sabotage, car bombs or threats. The image quality is reminiscent of surveillance, or the green tone of a night vision lens. Like Firestorm, Somewhere in a great country explores the relationship between history and fiction, and the future of the image.

Early of Vidal’s works brought together references to activism, early rave period, ‘80s cult movies, manuals of self-defense, and punk nihilism to analyze states of repressed aggression. It has been noted that, “Vidal seems to delight in a moment prior to the action, the moment of the preparative rituals of fighting, in gestures encoded inthe heart of action films… He presents the factual literality of images in a neutral unaffected manner, tossing all this thuggish power around to shake us out of the social dream, wretched self-control, the worst form of repression, a law assumed without resistance.” (Amanda Cuesta, Not afraid of tears, Galeria Joan Prats, 2008)

Alejandro Vidal (Palma de Mallorca, Spain, 1972) lives and works in Barcelona. He has exhibited his work at numerous international museums and centers such as Kunsthalle Winterthur, Switzerland; Fundació La Caixa, Barcelona; Palazzo delle Papesse, Sienna; Schirn Kunsthalle, Frankfurt; The Museum of Contemporary Art, Taipei; MIS, Sao Paulo; Da2, Salamanca; Kling & Bang, Reikjavik; and Mambo; Bologna. He took part in the Busan Biennial, South Korea, 2006. Recently he has exhibited at Galeria Joan Prats, Barcelona; Galleria ARTRA, Milan; Galeria Elba Benitez, Madrid; Galerie Thomas Schulte and Play Platform for Film and Video, Berlin; and Monitor, Rome. Upcoming projects include Seven deadly sins at Zentrum Paul Klee/Kunstmuseum Bern, Switzerland, and Glück Happens at Kunstpalais Erlangen, Germany.

Alejandro Vidal, When it rains, all shines black, is co-organized by SEACEX, Sociedad Estatal para la Acción Cultural Exterior. Special thanks to The Cooper Square Hotel, New York.

Participant Inc.’s exhibitions are made possible with public funds from the New York State Council on the Arts, a state agency.

Participant Inc. receives generous support from the Harriett Ames
Charitable Trust; Bloomberg; The Brown Foundation, Inc. of Houston;
Foundation 20 21; Gesso Foundation; Peter Norton Family Foundation;
The Andy Warhol Foundation for the Visual Arts; an anonymous donor of the Community Foundation of Abilene; Friends of Participant Inc. and numerous individuals; and Materials for the Arts, NYC Department of Cultural Affairs/NYC Department of Sanitation/NYC Department of Education.