—– Works with street art, paintings, drawings and graphics —-

HuskMitNavn has marked his name both in Denmark and internationally by his controversial, humorous and political street art. His characteristic figures and comments are spread all over Europe and covers a wide area from graffiti in public space, illustrations for international magazines and newspapers into established settings as galleries and building adornnments.
By humorous reflections upon everyday life and politics, the art from HuskMitNavn involves society discourses. In a very personal style he comments on absurdities by stolid comments that give ‘food for thought’. Subjects like nationality or integration gets a completely new meaning.

Backjumps-The live issue part 3
Big group show at Kunstraum Kreuzberg/Bethanien in
Berlin.
I’m painting a 50 meter long mural. 22.6-19.8.
Check out the web page for more details.

Backjumps

Take-away Summer 07
Group show at Charlotte Fogh Contemporary.
Klostergade 32, Århus Denmark. 29.6-25.8.
New paintings and prints.

My web page has been updated. Photos of my solo show
at A.L.I.C.E. Gallery in Brussels and more.

HuskMitNavn

Just to let everyone know, this going to be a landmark event… We aren’t
taking any shorts when it comes to Shepard’s NYC return. Get ready, cause
this exhibition is not to be missed!

JONATHAN LeVINE GALLERY presents

E PLURIBUS VENOM

NEW WORKS BY SHEPARD FAIREY
A SOLO EXHIBITION

Main Gallery Opening Reception
Saturday, June 23rd from 5-9 pm
Exhibition is on view from June 23rd to July 21st
Jonathan LeVine Gallery
529 West 20th Street, 9th Floor
New York, NY 10011
Phone: (212) 243 3822

Dumbo Installation Space Reception presented by JUXTAPOZ and SWINDLE
Thursday, June 21st from 7-11pm
Installation Space is on view until July 6th
81 Front Street (at the corner of Washington St)
Dumbo (Brooklyn), NY 11201
Music provided by COSMO BAKER, 10 FINGERS, SHEPARD FAIREY and more…
Drinks Provided by DEWARS
RSVP REQUIRED, for more info please visit

Jonathan LeVine Gallery

The title “E Pluribus Venom” which translates “Out of many, poison” is
derived from “E Pluribus Unum” (out of many, one) an early motto adopted by
the U.S. Government which appears on U.S. coins and dollar bills. In the
opinion of artist Shepard Fairey, many becoming one, or a loss of power and
influence of the individual in favor of homogeny is a symptom of a society
in decline. “E Pluribus Venom” could be interpreted as saying both that
there is poison in the American system, and that many individuals are
motivated by venom and anger toward this system. “E Pluribus Venom” is
comprised of artworks designed to question the symbols and methods of the
American machine and American dream and also celebrate those who oppose
blind nationalism and war. Some of Fairey’s works use currency motifs or a
Norman Rockwell aesthetic to employ the graphic language of the subjects
they critique. Other works use a blend of Art Nouveau, hippie, and
revolutionary propaganda styles to celebrate
subjects advocating peace. The art addresses monolithic institutional power
and authority and the role of counter culture and independent individuals to
question the dominant paradigm. Shepard Fairey’s new body of work contains
politically-charged paint, screen print, stencil, and collage mixed media
pieces which use metaphor, humor, and seductive decorative elements to
deliver provocative but beautiful results. These works blur the perceived
barriers between propaganda and escapist decoration, political
responsibility and humor with the intent of stimulating both viscerally and intellectually.

generous support provided by:

DEWAR’S Fine Blended Scotch Whiskey

Zipcar

Two Trees Management

SWINDLE Magazine

JUXTAPOZ Magazine

The RUB

Dear friend of V1 Gallery,
we hope to see you at Volta in Basel next week. We will be showing
new works by:
Richard Colman, Peter Funch, Nina Jan Beier & Marie Jan Lund, Troels
Carlsen, Todd James & Kasper Sonne.
Our booth (NF6) is located on the ground floor.

We look forward to seeing you.
Jesper Elg & Peter Funch

V1 Gallery
Absalonsgade 21.B
1658 Copenhagen V.
Denmark
www.v1gallery.com
elg@v1gallery.com

Basel numbers:
(+ 45) 268 281 66
(+ 45) 273 173 11

Voltashow

YVES NETZHAMMER

“The subjectivation of repetition / Die Subjektivierung der Wiederholung” Project A

@ La Biennale di Venezia
Swiss Pavillion at the Giardini
10.06.-21.11.2007

&

“The subjectivation of repetition / Die Subjektivierung der Wiederholung” Project B

at the Karlskirche Kassel (Karlsplatz)

supporting program of Documenta XII

Curated by Dr. Andreas Mertin

17.06.-23.09.2007
Opening reception: 17.06. at 4 p.m.
We would be pleased to welcome you at these venues!

—
Messen / fairs:

LOOP Barcelona 31.05.-02.06.2007
ART FORUM Berlin, 29.09.-03.10.2007
Galerie | Anita Beckers | Frankfurt

Frankenallee 74
D-60327 Frankfurt / Main
Tel (0)69-73 9009 67
Fax (0)69-73 9009 68
info@galerie-beckers.de

Galerie Beckers

Netzhammer

Mogadishni Artist:
FIE NORSKER in GÖTEBORGS KONSTHALL (Sweeden)

ABOUT FIE NORSKER (DK)
The Danish artist Fie Norsker works with a lot of different genres in her art; painting, drawing and ceramic. Norsker operates in a fairytale universe where ghosts, animals, muscle-men and strange creatures are present.

The drawings are very detailed and show the artist’s occupation with the human body but also with the landscape in which she often incorporates animals or big letters. The body depicted in some of her drawings is that of the exaggerated and grotesque bodybuilder which allows the artist to unfold an interest in lines and curves. The bodybuilder with his man-made and moulded body stands posing in a deserted, rough landscape – a juxtaposition which is full of contrast. The landscape seems to have a life of its own which in the drawings often is depicted with a grotesque sense of humour and fantasy. Piles of excrements are often part of the depicted landscapes in which the viewer gets a glimpse into a strange underworld. A place where nothing is as it seems…

The works in ceramics by Norsker are somewhat childish and almost naïve in their appearance. Small clumsy figures, often with no hands or feet stand helpless as the glaze drips down their body. The figures are full of humour as the artist plays with the material and the expressions. At first glimpse the figures seem sweet and innocent but they also have a serious side to them. For instance one of her ghost figures has a shot hole as mouth.

Clearly more serious aspects are present in the oil-paintings by Norsker – both via the topics and titles. The paintings often depict urban landscapes e.g. a factory alone in a rainbow-coloured almost psychedelic landscape. Other paintings are kept in darker colours and she zooms in on details of an abstract fantasy landscape. As opposed to the drawings with all their fine details the paintings are quite rough and simple. The oil is applied in wide strokes across the canvas and the surface is often built up by different colour-planes.

A series of red drawings on paper seem to combine the strategies of both her other drawings and her paintings. The red drawings have her typical detailing and also her painterly strategy of planes – but they also have an almost “graffiti attitude”. Different statements like “fucked up” and “angry anger” are scattered across brick walls or letters constructing small landscapes. These works seem to have a strong desire to communicate a message to the viewer – in this case the message is spelt out in capital letters revolving despair and anger.

Constructing different settings for her art Norsker has both the playful and the serious side present in her works. Even though some of her works seem to have a somewhat naïve appearance they are also full of energy. Even though a gender specific style always is debatable one tends to call her works “boyish” as her style is very rough and unpolished. Even her ceramics play on a kind of ugliness – a rebellion against the fine material perhaps. Instead of making her landscapes traditionally beautiful she fills them with excrement and strange figures. The “trash” look of her works gives a rebellious energy and reason disappears into a “hole in the ground”.

MOGADISHNI CPH
Carl Jacobsensvej 16 opg. 6 3.sal
2500 Valby/Copenhagen
Denmark

MOGADISHNI AAR
Katrinebjergvej 113
8200 Århus N
Denmark

Tel 0045 32543535
Fax 0045 32543545
mail@mogadishni.com

MOGADISHNI

Kunsthallen Göteborg

Opening at Vilma Gold on Wednesday 6th June, 6 – 8.30pm, 2007:

Nick Byrne
Seven Metals Seven Planets Seven Days of the
Week
7th June – 8th July 2007
——-
Michaela Eichwald
7th June – 8th July 2007
***
Gallery hours Wed – Sun, 11 – 6pm

Please note new address:
VILMA GOLD
6 Minerva Street
London
E2 9EH
0044 (0)20 7729 9888
0044 (0)20 7729 9898
mail@vilmagold.com

Vilma Gold

Monday, June 11-Saturday 16, 2007 – ULTRA BRAG, Südquaistrasse 55, CH-4019 Basel

KAVI GUPTA GALLERY
835 West Washington Blvd.
Chicago, IL 60607 USA
t: 312.432.0708 f: 312.432.0709
info@kavigupta.com

Kavigupta

Kavi Gupta Gallery is pleased to be participating in VOLTA show 03 in Basel.
The gallery will be presenting a selection of new large scale paintings by Angelina Gualdoni, Scott Anderson and Claire Sherman. Scott Treleaven will be exhibiting his latest collage as well as releasing his anticipated 104 page catalogue with text by Jack Pierson and Dennis Cooper. A special video room has been built in our booth to present Johanna Billing’s film Another Album and a selection of Scott Treleaven’s latest videos. We will also be releasing Johanna Billing’s 12” LP featuring her recordings of Magical World and You Don’t Love Me Yet – produced by Kavi Gupta Gallery, DCA Dundee Contemporary Art Centre and Apparent-Extent Record Label.

Please e-mail the gallery as soon as possible to see a preview of new work we will be exhibiting at the fair.
info@kavigupta.com

Left to right: Melanie Schiff, Angelina Gualdoni, Scott Treleaven, Johanna Billing, Claire Sherman, Scott Anderson

Also exhibiting new work by:
Scott Anderson
Johanna Billing
Jeff Carter
Quentin Curry
Christopher Garrett
Angelina Gualdoni
Hans Hemmert
Jo Jackson
Chris Johanson
Ashley Macomber
Sarah Nesbit
Melanie Schiff
Adam Scott
Claire Sherman
Tony Tasset
Scott Treleaven

Recent Gallery News:

ANGELINA GUALDONI
St. Louis Art Museum, Currents 100, Solo Exhibition, through June 17, 2007
Dogenhaus Galerie Leipzig, Solo Exhibition, September, 2007
Ulrich Museum of Art, Poets on Painters, Wichita, through Aug. 5, 2007 *catalogue
The Aldrich Contemporary Art Museum, Painting the Glass House, Ridgefield, CT, 2008
Galerie Michael Janssen, Blood Meridian, Berlin, Germany, 2007

SCOTT TRELEAVEN
BOOK RELEASE– Some Boys Wander by Mistake, Artist Monograph, to be released at Volta Show!
La Biennale de Montreal, curated by Wayne Baerwaldt, CICA, Montréal, Canada, June 2007
Love Addiction, Practices in Video Art from 67 to the present, Galleria Comunale, d’Arte Contemporanea, Monfalcone, Italy
Neue Atle Bruecke, Sectret-Flix, Frankfurt, Germany, June 2007
Beautiful/Decay Magazine, Issue S: My Darkness, Feature p. 58

MELANIE SCHIFF
Museum of Contemporary Art, Chicago, Sympathy for the Devil: Art and Rock and Roll Since 1967, curated by Dominic Molon, Sept. 2007
Solo Exhibition, Galerie Haus Schneider, Uschi Kolb, Karlsrhue, Germany, July 2007
UBS 12×12, Museum of Contemporary Art, Chicago, May/June 2007
Recent Acquisition of Kemper Museum of Contemporary Art, Kansas City, MO

CHRIS JOHANSON
BOOK RELEASE: Chris Johanson: Please Listen I Have Something to Tell You About What Is (Hardcover), published by Damiani
Art Basel, Art Unlimited
Chelsea Art Museum, Solo Exhibition, NY, NY, 2007

CLAIRE SHERMAN
Galleria Glance, Torino, Italy, July 2007
Gregory Lind Gallery, A Serious Paradise, curated by Patricia Maloney, San Francisco, CA
Flash Art, Review of solo show at Houldsworth Gallery, London
MacDowell Colony, Artist Residency, New Hampshire

ADAM SCOTT
Solo Exhibition, doART Gallery, Seoul, Korea, July 2007

JOHANNA BILLING
RECORD RELEASE – 12” vinyl – Magical World/You Don’t Love Me Yet – at Volta Show!
Solo Exhibition, Museum für Gegenwartskunst, Basel, Sept. 8 2007
Solo Exhibition, DCA, Dundee Contemporary Art Centre, Scotland, Sept. 15 2007
Joan Prats Gallery, Barcelona, May/June 2007
Collective Gallery, This is How We Walk on the Moon, Commissioned by the Collective Gallery’s One Mile Programme, Edinburgh, June 2007
Jönköpings Konstmuseum, Jönköping, August 2007

Current Exhibition:

ZAK SMITH
Half the Artist’s Proceeds from This Show Will Go to Benefit the Victims of God and Capitalism
through June 16

Upcoming Exhibitions:

June 29 – August 11, 2007

DANIELLE GUSTAFSON-SUNDELL
it’s midnight and i’m lonely

if that was all i needed i’d be fine – curated by Danielle Gustafson-Sundell
Stephanie Brooks
Anna Conway
Andreas Fischer
Carrie Gundersdorf
Andy Moore
Chris Naka
Keiler Sensenbrenner
Tony Tasset

GALLERY 2:
JUSTIN LIEBERMAN
Kurt Russell: RE-GENESIS
A Topographic Exhibition Exploring The Mechanics of Cult Iconology

September 7 – October 13, 2007

HANS HEMMERT

GALLERY 2:
MATT STOKES

FOR IMMEDIATE RELEASE

Look Away
NYU Steinhardt
MFA 2007/08

June 2 – June 16, 2007
Opening reception: Saturday, June 2, 6-9 pm
Closing reception: Friday. June 15th. 6-8 pm

Cynthia Broan Gallery
546 W 29th St
New York NY 10001
Hours: 10-6

Cynthia Broan is pleased to present Look Away, a group exhibition of 20 candidates and recent graduates of New York University’s MFA program. The exhibition will be on view from Saturday,
June 2 to Saturday June 16.
Look Away features Vanessa Albury, Ernesto Burgos, Curt Confer, Crystal Curtis, Rachel DeTrinis, Matthew Driggs, Sebastian Errazuriz, Marthe Fortun, Ricardo Gonzalez, Jonah Groeneboer, Seunghyo Jang, Yongho Ji, Jason Kendall, Jason Ledet, David Matorin, Alex McQuilkin, Terence Nance, Aaron Raymer, Max Razdow, and Viktoria Sorochinski. Although Masters of Fine Arts programs are generally two years, rarely do all the students exhibit together. In a unique turn of events, painters, drafters, photographers, sculptors, videographers, and performers who shared one year of instruction will have recent work converse in one space. The work takes many forms, colors, and volume levels, addressing fantasy and feminism; geometry and geography; relationships and ruin.

Performance and Video Screenings:
Crystal Curtis will showcase a live performance Summer Song in two parts on June 2nd at 8:30 pm and June 15th at 7 pm.
Vanessa Albury’s video 12/27/05 to 6/505, 11/23/06 (text messages from Mark), will be screened twice daily at 12 pm and 4 pm.

Gallery hours: Tuesday – Saturday, 10 – 6.
Monday by appointment. For information contact Cynthia Broan, 212-760-0809 or info@cynthiabroan.com.

546 WEST 29TH STREET NEW YORK 10001 T 212.760.0809 F 212.760.0810 www.cynthiabroan.com

Opening at Michael andersen
Wedesday 6/6 17.00 – 19.00

Michael Andersen

MATIAS FALDBAKKEN / “A HIDEOUS DISEASE”
STATEMENTS / ART BASEL 38
(HALL NO. 1.0, BOOTH NO. A22)
11.06.-17.06.2007
—–

“Suggested to Stanley that “they” might be machines who regard organic life as a hideous disease. Stanley thinks this is cute and feels weve got something.” Arthur C. Clarke
Matias Faldbakken’s exhibition project “A Hideous Disease” consists of five works produced for a presentation at the Statements’ section of Art Basel 38. Taking its title from a diary entry of scriptwriter Arthur C. Clarke written while working with Stanley Kubrick on “2001 A Space Odyssey” Faldbakken’s project revolves around the concept of ‘counterfeit intelligence’. How are the notions of ‘human worth’ and ‘capitalistic value’ contested when subjected to the rebellious fake?
A discussion of validity will necessarily be disturbed by the possibility of a perfect imitation. At the centre of Matias Faldbakken’s project are three close-up photographs of a flawlessly forged 100-dollar bill zooming in on the very fibers of the paper. Zooming back out “Supernote [PN-14342]” presents the question: how is possible to discuss worth and value when the imitation is at equal or superior quality to the original? In “A Hideous Disease” this question extends from the phenomenon of counterfeit to the idea of artificial intelligence. A hollow sculpture rendering a mainframe computer is brought into dialogue with a mug shot of a group of arrested Colombian counterfeiters, a morphed portrait of the actor Douglas Rain, and a hand-painted press image of a sculpture mimicking the monolith from “2001 []” together contesting the supremacy of human intelligence by introducing the insubordinate counterfeit.
Intelligence and the capacity of language are decisive for the concept of human worth. Artificial intelligence puts this measure of human worth to test. If a computer is able to process a written conversation (chat) with a person, without him or her realizing that they’re speaking to a computer, it raises questions whether the computer has a consciousness. Clarke and Kubrick exemplify this dilemma in “2001 []” through the computer HAL 9000. Hal possesses the ability of language, but through developing an independent will it also suspends the categories of real and non-natural intelligence. The portrayal of HAL is thus representative of fiction’s dealing with artificial intelligence; as aspiring to power and attempting at bringing human authority down. In Faldbakken’s project, the face rather than the voice of the actor Douglas Rain marks HAL’s presence. The morphed portrait revisits HAL’s degrading of consciousness through loss of language. This dissonant representation is equaled in a sculpture taking its form from a mainframe computer, the strongest calculating machine in the world. Here it remains inactive and unarticulated the mute, nominal surface reveals little of its content. Yet exactly the viewer’s uncertainty, while recognizing our societal system’s dependency on these computers, infuses the object with a haunting resonance of unknowing.
Adjacent to Faldbakken’s sculpture is the work “Funny Money Gang”. This inkjet print, glued onto the wall, portrays the members of a Colombian forgery league after their arrest handcuffed and presented to the press. The group loyalty of the counterfeiters is contrasted to the general, societal agreement loyalty to the concept of monetary value. Whereas money serves as the physical substitute of abstract capitalistic value, forgery attempts to appropriate a non-existing part of this value by imitating the substitute (notes and coins). When false value is circulated in a system of accumulated value, the accumulated value is contaminated with non-value. Secure signs of value are left unsure, as with the above-mentioned ‘supernotes’ that are presumed to have initially derived from North Korea. Deflectors from North Korea claim that the production of ‘supernotes’ is as important to the country as the nuclear program. As a perfect imitation, it both serves as a source of income and as a tool to undermine Western economy. Ironically, this activity could be said to bear marks of HAL 9000’s rebellious intelligence with equally a new world order as its aim.
Matias Faldbakken’s works have earlier been shown in various biennales and museum exhibitions including The Sydney Biennial (2004); Momentum The Nordic Art Biennial (2004); The 51st Venice Biennial (2005); Stedelijk Museum, Amsterdam; Frankfurter Kunstverein, Frankfurt am Main; Kunstverein Mnchen, Mnchen; ICA, London; PS1 MoMA, New York; CAC, Vilnius; Kunstwerke, Berlin; and St䤴isches Museum in Lenbachhaus, Mnchen. Faldbakken will later this autumn be subject to solo exhibitions at Midway Contemporary Art, Minneapolis and at STANDARD (OSLO), Oslo. During Art Basel Faldbakken will also launch his new book, “Not Made Visible”, published by Christoph Keller Editions/JRP Ringier, Zrich.

For further information please visit the webpage of Art Baselwww.artbasel.comor contact Eivind Furnesvik at eivind@standardoslo.no or +47 917 07 429. STANDARD (OSLO) is open Tuesday-Friday: 12.00-17.00 / Saturday-Sunday: 12.00-16.00, but will be closed during the week of the fair (11.06.-17.06.2007).

—–

STANDARD (OSLO)
Hegdehaugsveien 3
N-0352 OSLO

+47 22 60 13 10 / t
+47 22 60 13 11 / f
info@standardoslo.no

STANDART (OSLO)

—–

CURRENT EXHIBITION:

Oscar Tuazon
“I’d Rather Be Gone”
24.05.-24.06.2007