Kurinazutto

Brandstrup

Javier Peres is pleased to present two exhibitions in Los Angeles:

“Sack of Bones (Los Angeles)” curated by Blair Taylor and Ellen Langan
November 20 – December 20, 2008
Opening Reception: Thursday, November 20, 2008, 6 – 9 pm
Peres Projects Chinatown (969 Chung King Road, Los Angeles, 90012)

Mark Flood
“Entertainment Weakly”
November 22 – February 7, 2009
Opening Reception: Saturday, November 22, 6 – 9 pm
Peres Projects Culver City (2766 S. La Cienega Blvd., Los Angeles, 90034)

———————————————————————————-

“Sack of Bones (Los Angeles)”, curated by Blair Taylor and Ellen Langan
A group exhibition featuring Jack Goldstein, Dan Colen, Tara Delong, Neil Jenney, Dash Snow, Gardar Eide Einarsson, Mark Flood, Bill Hayden, George Herms, H.C. Westermann, Rosy Keyser, Bruce LaBruce, Daniel McDonald, Andrew Rogers, Arsen Roje, Agathe Snow, William C. Taylor, Donald Urquhart, Oscar Tuazon, Eli Hansen, Kaari Upson, Sebastian Mlynarski and Banks Violette.

Toted around, thrown in the corner, recovered as relic or disposed of as useless, a sack of bones is unavoidably deformed. It is an apparently dead object subject to the intentions of its creator, or its purveyor, or its consumer, or maybe just its times.

The group exhibition “Sack of Bones” comes from a viewing of Paul Rachman’s 2006 film, American Hardcore, in which Mark Flood appears as an interviewee on the topic of 1980’s punk rock. The tone of the film is reverent, to be sure, but more than an ode, the voices in the film present conflicting parts pride, humor, fraternity, anger, bitterness, nostalgia, and what are often doleful mechanisms for dealing with the here-and-now. That Flood was both part of Hardcore as it existed musically (in 1980 his band, Culturcide, put out their first 7-inch: “Another Miracle/Consider Museums as Concentration Camps”) and has been practicing visual art for over 30 years poses an interesting question: how, if at all, can art be hardcore? By embodying adolescent punk obsession? By miraculous use of irony? By a simple withdrawal from popular territory?

Consider, for example, the tangled ‘attitude problem’ precipitated by Reagan-era punk; there is the myth of a pure strain of FUCK YOU, there is the myth of the majority’s snide perception of its counter-movements, and then, somewhere in the overlap, there is the problematic dilution of any rebellion’s once-potent beginnings (causing cycles of backlash and resurgence pretty much ever after). In the art world this tangle is further convoluted by the relishing of trade and an inherent affluence, elitism and circuitous pandering that can compromise anyone’s well-intentioned we/they stirrings.

The exhibition as a whole may appear deadpan, satirical or pathetic – in any case each of the constituent works turns its back on complacency, and, in doing so, becomes material evidence of resistance (kicking from within the sack). In other words, with all that is stacked against the mutinous artist and the mutinous viewer, hope could lie in objecthood itself.

———————————————————————————-

“Entertainment Weakly,” a solo exhibition by Houston-based artist Mark Flood.
Inaugurating the Peres Projects gallery in Culver City, Los Angeles, the exhibition will include mixed media drawings, paintings, sculpture and installation from the past and present.

Flood is a Merry Deformer, romping through the art world’s carefully arrayed aisles with a stencil and a can of spray paint, rearranging its face. Matters of identification are fertile ground upon which to sew mischief, and yet Flood never abandons the potential of a beautiful phenomenon in favor of just being stabby. The surface of a text panel or lace painting still holds all the subtle irregularities and shiny moments prone to seduction.

The works exhibited here cover three decades of Flood’s output, from the defaced advertisement drawings of the early 1980s to brand new assemblages fashioned from the local Texas debris of Hurricane Ike. Bathed in a acid-lime light, the group together presents, in Flood’s words, “topics for non-discussion: our relationship with pictures of celebrities, the effects of vibrant community on layers of dust, market correction fluid, accidental suicides, casual sex with photographs, healthy stalking, shared recipes for aesthetic disasters.”

“Sack of Bones (Los Angeles)” will be on view at Peres Projects (969 Chung King Rd, Los Angeles 90012) through December 20, 2008. “Entertainment Weakly” will be on view at Peres Projects (2766 S. La Cienega Blvd., Los Angeles, CA 90034) through February 7, 2009. Gallery hours at both locations will be Tuesday through Saturday, from 11:00 A.M. to 6:00 P.M and by appointment.

Peres Projects

New gallery in Copenhagen:::
Dask Gallery

Wes is getting ready for the show friday:::
V1

Gallery Poulsen

I hereby want to invite you to the opening of the groupshow MULTIANIMA
presenting works of vienna artists:

Bella Angora
Alexandra Berlinger
Susanne Eybl
Judith Fegerl
Barbara Husar
Deborah Sengl

curated by Bella Angora

Stalke

Artist Reception: Saturday November 15th 7-11 pm Gallery Three is pleased to present the first West Coast solo exhibition of New York based artist Erik Foss. A deftly crafted mixed-media mélange of painting, collage, drawing, photography, assemblage and sculptural installation components, Smokem If You Gotem lays bare the personal demonology of Foss’ visual obsessions along with the greater social pathology of our culture on the brink. At once eminently seductive and deeply disquieting, Foss iconography of cultural critique collapses the perceptual boundaries between pornography, poverty and politics to underscore the collective anxiety and violence of our time. An intrepid scavenger of visual artifacts in which memory, melancholia and madness invoke a visionary topography where the mortality of dreams engender germinal quotients of relativist understanding, Erik Foss locates the fearful symmetries lurking within the miasma of pop culture at the nexus where representation and witness converge. With the raw vernacular of the streets, Foss makes fine art fodder of the smug complacency and delusional democracy by which our failing empire lulls itself to terminal sleep. How else might we read his bold re-imagining of our national emblem, the American flag, as a composite of needy pleas and desperate amusements culled from the signs of begging homeless? His is the itinerant semiotics of national shame reeking behind spectacle of patriotic glory. In conjunction with his exhibition at Gallery Three, D. A. Arts (located next door at 135 Sixth Street) will concurrently be presenting an ambitious new installation Erik Foss is producing especially for the space. Entitled Arizona Graves, this haunting elegy for the tangible presence of loss is at once an interpretive recreation of a Native American burial ground near where the artist grew up in Phoenix, Arizona, and a mythopoeic invocation of the darker legacy of the American Dream.

Fuse Gallery

Galleri Tom Christoffersen is pleased to present Berlin-based, Greek-German artist, Christina Dimitriadis in her first solo show in Copenhagen. For this exhibition, the artist has carefully selected a group of some of the most important photographs that she has created over the last years, from 1996 to the present.

Dimitriadis uses the medium of photography to articulate a very personal expression of space; one that is often autobiographical and based on her close personal and family relationships. With these works, she continues her examination of the self, time and space, place and history, interpreting each of these subjects in her own particular way. Her images are a meditation on the quotidian reality of existence that poses questions about how we occupy our most intimate and familiar spaces.

For the most part, these works remain ambiguous, eschewing any straightforward reading or interpretation. Individual works, such as The Trap however, may be related to larger historical context. These cold, minimal images create a sense of poetic silence that is intimate, yet they do not allow for the proposal of any specific personal narrative. These concise and elegantly articulated photographs always keep the viewer at arm’s length, maintaining an underlying impenetrability and crystal clear beauty throughout.

Christina Dimitriadis is born in Greece (1967) and lives and works in Berlin. She is trained in New York at the Parsons School of Design and New School for Social Research (graduated 1992) and from F.V.A (graduated 1993). Of previous exhibitions can be mentioned: Dystopia, (solo) Kanazawa Citizen’s Art Center, Kanazawa (2006). Open Closed Doors, (solo) Eigen+Art Gallery, Berlin (1997), Transexperiences, 798 SPACE, Beijing (2008), Neue Heimat- Contemporary Art in Berlin, Internationale Kunst im Neuen Berlin, Berlinische Galerie, (2007), Wir Haben keine Probleme. Kunsthall Bergen (2007) Turbulance, 3rd Auckland Triennial, Auckland, (2007), The Passion and The Wave, 6th International Istanbul Biennial, (1999), La Casa, Il Corpo, Il Cuore, Museum Moderne Kunst Stiftung Ludwig, Vienna, (1999), Greek Realities, Kunsthallen Brandts, Odense (1997).
Christina Dimitriadis is represented by Curators Without Borders, Berlin.

*Tom Chrisoffersenk

DUNK! / LOPPETJANS
A solo exhibition by Zven Balslev.

DUNK! is ready with the last show of the year.
DUNK! puts up a fabulous solo show by Zven Balslev.
DUNK! proudly present the exhibition LOPPETJANS.
LOPPETJANS is a Danish word signifying a very easy-going type of job.
LOPPETJANS is graphic art camouflaged as painting.
LOPPETJANS is drawing camouflaged as photography.
LOPPETJANS is photography camouflaged as painting.
LOPPETJANS is absolute top class art manipulations.
LOPPETJANS is an odyssey into visualized human decay.
LOPPETJANS is creepy and uncanny mysticism at a peak point.
LOPPETJANS is a blinding noisy graphical dream of an exhibition.

ZVEN BALSLEV is an incredibly original artistic genius who has taken drawing as a solid base and reference point for journeys into different kind of medias such as graphic art, ceramics, painting, conceptual art, installation and photography. In his work he unfolds a phenomenal mix between the aesthetics of underground comics and a wild form of controlled expressionism resulting in profound outlets of dark and morbid
humor balancing on the edge of insanity.

EXTRA:
At the opening of LOPPETJANS DUNK! has the pleasure of presenting a brand new and flashy 3D-edition made by the Hanoi based Danish artist JES BRINCH.

PLUS:
At the opening SMITTEKILDE RECORDS throws a release party for the CD Single WELCOME TO THE CRISIS by the very same JES BRINCH.

*Dunk