Mel Bochner; In the Tower at the National Gallery of Art  (NGA,  through April 29, 2012) includes thirty works on paper from the 1960s, most from the group known as Thesaurus portraits, and a room full of recent, large, colorful canvases for which the artist returned to the thesaurus as a starting-point.  The use of [...]

By Kaitlin Kylie Pomerantz With little-seen gems from Philadelphia’s historic scientific institutions, as well as side-by-side art history ground shakers including Thomas Eakins’ Gross Clinic, Marcel Duchamp’s Nude Descending a Staircase (no. 2), and Eadweard Muybridge’s early motion photographs, Pennsylvania Academy of the Fine Art’s new exhibition, Anatomy/Academy, rephrases the dusty argument over the continued [...]

Although the two artists took a course in the Pennsylvania Academy of the Fine Arts MFA program together, Plamen Veltchev and Allison Stigora had not seen one another’s work in about five years. It was a surprise for them to discover that their work has so much in common. Both artists tackle ideas such as [...]

Tate Britain
1 February–15 May 2011

Susan Hiller (b. 1940) is one of the most influential artists of her generation. This major survey exhibition at Tate Britain will provide a timely focus on a selection of her key works, including many of the pioneering mixed-media installations and video projections for which she is best known. It will be the largest presentation of her work to date, providing a unique opportunity to follow her exploration of dreams, memories and supernatural phenomena across a career of almost four decades.

Every so often, there comes along a retrospective exhibition or mid-career survey that puts to rest whatever doubts I may have had as to where a particular artist sits in my personal pantheon of favorite artists.  It is on these rare occasions when, afforded the luxury of considering his or her work en masse, an [...]

December 21, 2010 – 6:00pm – 8:00pm<br />
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Hi Everyone,<br />
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This Tuesday is another event in a year-long series of weekly conversations and exhibits in 2010 shedding light on examples of Plausible Artworlds.<br />
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This week we’ll be talking with Miran Mohar, founding member (with fellow artists Dušan Mandič, Andrej Savski, Roman Uranjek, and Borut Vogelnik, who may also skype in) of IRWIN, a collective of Slovenian artists, primarily painters, which would become the visual-arts wing of the broader collective Neue Slowenische Kunst (NSK).<br />
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http://www.nskstate.com/<br />
http://en.wikipedia.org/wiki/IRWIN<br />
http://times.nskstate.com/tag/irwin/<br />
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IRWIN was founded in 1983 by a group of guys from the punk and graffiti scene in Ljubljana, who decided to call themselves Rrose Irwin Sélavy. The name of course is a wink to Marcel Duchamp, who used “Rrose Sélavy” (pronounced, tautologically, as éros c’est la vie) as one of his feminine pseudonyms. The group subsequently shortened the name to R Irwin S. In 1984, the group co-founded a larger collective known as Neue Slowenische Kunst (NSK), with like-minded artists from other fields, including the rock band Laibach, and the Scipion Nasice Sisters Theater group. NSK’s modus operandi was what their contemporary and compatriot Slavoj Zizek has called “over-identification”: that is, rather than critiquing powerfully connoted political imagery (including Soviet, fascist, religious and Suprematist images), they would endorse it to an excess, to considerable traumatic and provocative effect, engendering confusion that could only be resolved by acknowledging that no space, no frame — no world of interpretation — is neutral. In some ways, it was a particular, post-Yugoslavian brand of institutional critique; but the insistence on collective, depersonalized production, pushed IRWIN and NSK as a whole in the direction of imagining alternative forms of political communities, including the project “A State in Time”, which led to opening embassies and consulates in Moscow, Ghent and Florence, issuing NSK passports to “citizens” who have used them to cross borders.<br />
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More recently, IRWIN has developed the large-scale, open-ended cartographic project “East Art Map” (presented at Basekamp in 2006), one of the most ambitious attempts to map the vectors of influence and development of conceptual art in the countries of the former Soviet bloc — reappropriating a history and horizon of aspirations and production, challenging the hegemony of the Western art-historical canon. With humor and meticulous detail — not to mention some beautiful maps — IRWIN has shown the importance for any plausible world to be able to map its trajectory. The group refers to this approach with the paradoxical term “Retro-avant-gardism”, drawing attention to the temporal provincialism inherent in conventional art history with the 1987 statement: “The Future is the seed of the past.” With one week left to go in our year-long cycle of discussions, and before Plausible Artworlds morphs into a new project, what could be more important to address than that performative paradox?<br />
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See you all then!<br />
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Join us every Tuesday night – in person, or on Skype, skypename: ‘basekamp’<br />
If you come to the potluck chat in person, be sure to bring a dish :)<br />
Basekamp space: 723 Chestnut St, 2nd floor, Philadelphia usa<br />
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To join this week’s Potluck Chat:<br />
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* Download from skype.com if you don’t already have it<br />
* In Skype “Add a contact”: basekamp<br />
* Send a message when you want to join the chat, by selecting us from your list and clicking ‘Start chat’<br />
* We’ll add you to the text chat, and when everyone is ready we’ll start the conference call<br />
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Follow Plausible Artworlds:<br />
http://twitter.com/basekamp<br />
http://basekamp.com/info<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/_FqgCFREvGA" height="1" width="1"/>

In 1913, Marcel Duchamp created a ruckus with an assembled inverted bicycle wheel mounted on a stool. The provocateur stirred controversy soon after with more found objects, most famously a urinal entitled Fountain (1917). Duchamp’s witty play with gallerists and major art shows did more than question what constitutes art; it shone a light on [...]

Dan Flavin, untitled (to Barry, Mike, Chuck and Leonard), 1972-1975, at Paula Cooper, closing Saturday, October 30. Yellow and pink fluorescent light, 8 ft. x 8 ft., installed in a corridor. Photo: 16 Miles

Photographs of after-hours events at Minneapolis’s Walker Art Center, including a 1967 Otto Piene–designed “Party Room” and Marcel Duchamp, martini in [...]

Diapason Gallery for Sound presents<br />
Non-Cochlear Sound <br />
Contact: Seth Kim-Cohen<br />
seth@kim-cohen.com<br />
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Non-Cochlear Sound <br />
Opening: Friday, October 1, 7pm<br />
Exhibition: Saturdays, October 2, 9, 16, 23, 30, 2pm-8pm<br />
Diapason Gallery, 882 Third Avenue, 10th Floor, Brooklyn, NY <br />
Panel: Thursday, October 28, Goethe-Institut, 72 Spring Street, 11th floor, New York, NY<br />
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Sound, like everything else (maybe more than everything else), is a product of interaction: stick with skin, wheel with street, wind with grass. Logically, then, sound is also a product of the situations in which these interactions occur. Non-Cochlear Sound addresses sound as a conceptual, contextual construct. Non-Cochlear Sound might function in a sound-like fashion without specifically referencing or making sound, it might use sound as a vehicle for transporting ideas or materials from point A to point B, it might even make sound but only as an excuse for initiating other activities. Sound always makes meaning by interacting with other things in proximity: geographic proximity, ideological proximity, philosophical proximity. Non-Cochlear Sound is nothing more – and nothing less – than the acknowledgement of this reality.<br />
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Diapason Gallery for Sound presents Non-Cochlear Sound, an exhibition curated by Seth Kim-Cohen. The exhibition follows from Kim-Cohen’s book, In The Blink Of An Ear: Toward A Non-Cochlear Sonic Art (Continuum 2009), which theorizes a phylum of sonic practice imagined as a continuation of and a complement to Marcel Duchamp’s notion of a non-retinal visual art. The opening on October 1 at 7pm will include one-time-only performances which will then be documented for the remainder of the exhibition. Non-Cochlear Sound continues Saturdays in October from 2pm-8pm and features the work of twenty established and emerging artists working with sound as a medium which addresses ideas beyond the act of hearing. Through performance, video, text and sound, the artists examine sonic conceptualism and the mediating/mediated properties of sound.<br />
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Opening: October 1, 7pm <br />
Non-Cochlear Sound opens on Friday, October 1 at 7pm at Diapason Gallery. <br />
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Exhibition: October 2, 9, 16, 23, 30<br />
Non-Cochlear Sound features the work of twenty artists from Europe, the U.K., the U.S., and Canada who responded to an open call for non-cochlear sound works. From more than 150 submissions, curator, Seth Kim-Cohen, selected nineteen pieces which expand his own conception of what a non-cochlear sonic art might look like, sound like, how it might behave. <br />
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Exhibition Highlights: <br />
• On the first full day of the exhibition, October 2, artist Rozalinda Borcilla will lead Listening for Beginners, a workshop for twenty participants whose documentation will also become part of the exhibition. <br />
• Michelle Rosenberg will install a network of whistles throughout Diapason, allowing spectators to engage the exhibition and interact with each other by blowing into holes at one location, activating whistles at another location inside (or outside) the gallery. <br />
• Doug Barrett’s Violin Tuned D.E.E.D. is a historical revision of Bruce Nauman’s Violin Tuned D.E.A.D. (1968). The piece will be performed live during the October 1st opening, existing subsequently as documentation for the duration of the exhibition. <br />
• Rob Mullender’s work consist of two parts: Daughter’s Voice From Memory is a resin sculpture of a sound wave; Said Object is a video of various individuals confronting the sculpture and responding to the question: “What does it say?” <br />
• Benjamin Thorp will ship a box containing recording gear to the gallery. When it arrives, Black Box, will be installed, playing back the sound of its journey to the exhibition. <br />
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Panel: October 28<br />
A panel of artists and scholars will discuss the exhibition and its implications on October 28th at the Goethe Insitut. Participants will include Seth Brodsky, David Grubbs, Marina Rosenfeld, and Liz Kotz among others.<br />
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Seth Kim-Cohen<br />
Seth Kim-Cohen makes as little distinction between his artistic and scholarly practices as he can get away with. His work has been presented around the world at galleries and museums including Tate Modern, the Institute of Contemporary Art, Whitechapel Gallery, Peer Gallery, and Reception Space in London; PS 122, Issue Project Room, Chez Bushwick, Parkside Lounge, and CBGB in New York; Firehouse 12 and Grand Projects in New Haven; and the Zentrum for Kunst und Media in Karlsruhe, Germany. He is Director and Assistant Professor of Art and Theory at the Institute for Doctoral Studies in the Visual Arts (IDSVA). He has also taught at Yale University, Pratt Institute, and Tate Modern. Kim-Cohen’s most recent book is In The Blink of an Ear: Toward a Non-Cochlear Sonic Art (Continuum, 2009). He has curated exhibitions in the U.K. and the U.S. (www.kim-cohen.com)<br />
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Diapason Gallery<br />
Diapason is a listening space that gives artists and audiences the opportunity to make and experience sound art. Through the exploration of active and varied modes of listening Diapason seeks to engage artists and the public in a dialogue about the place of contemporary music and sound practice in a broader cultural context. For artists, both established and emerging, Diapason provides a space at once accessible and technologically advanced, fostering the creation of unique works that investigate the implications of new sound practices. For audiences Diapason provides an optimal listening environment and access to artists, encouraging personal exploration of one’s relationship to sound and listening. <br />
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Over the past fourteen years Diapason and its predecessor program (Studio 5 Beekman) have presented the work of over 350 composers and other practitioners of sound art from the USA and abroad. Diapason presents a broad spectrum of multi-media work, from emerging to established artists. Three years ago, Diapason relocated to its own dedicated exhibition space in Brooklyn, with two galleries in which we present monthly sound installations and regular live performances year-round.<br />
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NON-COCHLEAR SOUND<br />
Curated by Seth Kim-Cohen<br />
Diapason Gallery, October 2010<br />
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Artists, in alphabetical order:<br />
Doug Barrett, Violin Tuned D.E.E.D.<br />
Rozalinda Borcilla, Listening for Beginners<br />
Seth Cluett, Tracing Moving Circles (Neighborhood Memory)<br />
Chris Cuellar, Tactical Archiving <br />
Benedict Drew, Drum Loop<br />
Jarrod Fowler, Rhythmsystemics <br />
Seth Kim-Cohen, Critique of Instrumental Reason (by use of drums)<br />
Chris Kubick and Anne Walsh, To Make The Sound of Fire<br />
Corey Larkin, Monochrome<br />
Lou Mallozzi, Screenplay: one and one<br />
Christof Migone, 4 Feet and 33 Inches<br />
Matthew Mullane, Détourned Down: A Conversation with Seth Kim-Cohen<br />
Rob Mullender, Said Object / Daughter’s Voice From Memory<br />
Michalis Pichler, Un coup de dés jamais n’abolira le hazard (Musique) <br />
Michelle Rosenberg, Whistle Wall<br />
Jennifer Schmidt, Hard Times / Scrabble Value: A Conversation in 2 Parts<br />
Benjamin Thorp, Black Box<br />
Heather and Seth Warren-Crow, Grayface<br />
James Whitehead (JLIAT), Esse Est Percipi?<br />
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Diapason is supported in part by public funds from the New York City Department of Cultural Affairs, in partnership with the city council, the Phaedrus Foundation, Kirk Radke, and by generous individuals. Diapason is a 501(c)3 organization.<img src="http://rhizome.org/syndicate/nothing.gif?f=announce" border="0"><img src="http://feeds.feedburner.com/~r/rhizome-announce/~4/ZMXtnwlU5jQ" height="1" width="1"/>

A group show with: Daniel Arsham, Davide Balliano, Matthias Bitzer, Martin Boyce, Pablo Bronstein, Ross Chisholm, Joseph Cornell, Marcel Duchamp, Laurent Grasso, Marine Hugonnier, Louise Lawler, Benoît Maire, David Maljkovic, Rita McBride, Christophe…