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Man Burning w/
Keegan McHargue
September 11–24, 2010
Saturday, September 11: Glasser
Friday, September 17: Houston
Friday, September 24: Yemenwed
———————————
Glasser
A cappella at 8pm
W/———
141 Division Street
New York NY 10002
———————————
Afterparty at B.East
10:30pm–late
DJ sets by Jon Santos
Broadway East
171 E. Broadway
New York NY
Sponsored by Fader
hello@withnyc.org
withnyc.org
Woman behind a Cushion
11 Septemeber–23 October 2010
Tulips & Roses
19, rue de la Clé
1000
Brussels
THANKS, CARSON.
My friend Anna Sew Hoy and I are working on a new artists book — contribute to the project if you can.
Jonathan · 08/31/10 
“A DESIRE TO LEARN ESPERANTO:
HAVING A THING to do with Esperanto, Ballantine Beer, both or neither”
Nancy Lupo for works sited
August 30 - September 30, 2010
“Imagine that you are on a train car sitting next to a Russian gentleman with whom you wish to speak. You have brought with you a key to Esperanto in Russian. On the back of the key is written (in Russian), “Everything written in Esperanto can be translated by the help of this vocabulary.” You give the gentleman a sentence written in Esperanto, and he will be able to make out your sentence in a very short time by using the key. As an example Dr. Zamenhof gives the following sentence: Mi ne sci’as kie mi las’is la baston’o'n: Cxu vi gxi’n ne vid’is?”
Olivian · 08/31/10
Cannon Hudson, New Painting and Sculpture
Alex Klein, Person to Person
Vishal Jugdeo, Violent Broadcast
May 1-29, 2010
Opening Reception
Saturday, May 1, 7-10 pm
Las Cienegas Projects
2045 S. La Cienega Blvd.
Los Angeles, CA 90034
January 7 – February 13, 2010
525 West 21st St
New York, NY 10011

Not Equal, 2009, Plywood, wood glue and enamel paint, 13.1 x 17.75 inches
Shannon Ebner
Invisible Language Workshop
30 October — 19 December 2009
Opening Reception: Friday 30 October, 6-8pm
Wallspace
—Shannon Ebner
Exhibition poster design by Sandy Yang
Resort, A Station for Display
Arthur Ou and Alice Könitz
November 21, 2009 — January 16, 2010
Reception: Saturday, November 21, 2009, 7-9pm
LAXART
2640 S La Cienega Blvd
Los Angeles CA 90034
The Studio Museum in Harlem will open the fall/winter season with a major exhibition entitled 30 Seconds off an Inch. This survey will bring together contemporary artworks by a group of artists who, having absorbed the lessons of U.S.-based Conceptual art and identity politics, imbue their respective practices with a critical sense of play and irreverence adopted from Fluxus, Arte Povera, Gutai and Neoconcretism, among other international movements. 30 Seconds takes the singular practices and conceptual methods of black artists active on the West Coast in the late 1960s and early 1970s as a starting point–work that inspired a bodily engagement in conceptual practice.
Presenting approximately one hundred works by dozens of artists, the exhibition will provide an overview of a generation of artists who use a variety of media, including photography, video, large-scale sculpture, figurative painting and site-specific installations. 30 Seconds aims to show how this group of artists engages with the body and race in clever, subtle and astute ways.
30 Seconds off an Inch
Opening: November 11, 7-9 pm
November 12, 2009 — March 14, 2010
The Studio Museum in Harlem
144 West 125th St
New York, NY
Renwick Gallery is pleased to announce the group show Beyond Process. The exhibition features Lucas Ajemian, Patterson Beckwith, Phil Chang, Samara Golden, Alexander Hoda, George Kontos, Jason Kraus, Megan Marrin, and Lisa Williamson.
Renwick Gallery
45 Renwick St
New York, NY 10013
(212) 609-3535
www.renwickgallery.com

Documentation: Danielle Levitt
Second Floor is a private exhibition space started by curator Sarvia Jasso and artist Kathryn Garcia. In part fueled by the economic crisis, Second-Floor was developed as a way to challenge the “white cube” mentality of the market driven NY art-world by providing artists a platform outside of the normal exhibiting structure.
2 May — 14 June 2009
In 1973, Ana Mendieta invited unsuspecting visitors to her apartment. Without having been warned, they witnessed a horrific (albeit confusing) scene: Mendieta was bent over and tied to a table with her underwear at her ankles, blood stains on her legs and broken dishes all over the floor. Protesting the recent attacks against women that were occurring on campus at the University of Iowa, Mendieta’s performance Rape Piece is a poignant reminder that the distinctions between private and public, inside and outside, remain somewhat unclear.
Using this performance as a point of departure, the group exhibition Can’t Rape the Willing not only poses some of the same questions that Mendieta considered but, more deliberately, it diverts by exposing what happens behind closed doors between consenting adults. By challenging rampant taboos about sexual fantasies, intimacy and deviant behavior, the artists in the exhibition are invited to delve into unrestrained—and unapologetic—perverse territory.
Theo Adams
Arlen Austin
Andres Bedoya
Cara Benedetto
Michael Bilsborough
Brendan Carney
Azul Ceballos
Tara DeLong
Chloe Dzubilo
Juan Pablo Echeverri
Kathryn Garcia
Danielle Levitt
Richard Lidinsky
Megan Lindeman
Lovett/Codagnone
Quinn Luke
Hector Madera Gonzalez
Nadja Verena Marcin
Elizabeth Neel
Marc Robinson
Julika Rudelius
Georgia Sagri
Dean Sameshima
Michael Sharkey
Dena Yago
For more information, contact Sarvia Jasso or Kathryn Garcia. After May 2nd, open by appointment only.

“LOST&FOUND is the first in a series of displays which explore themes relating to the library and its collections and practices. Turning to a particularly inconspicuous collection - the library’s lost and found, artist Joshua Callaghan has created an archive of objects made entirely of wood and wire and based on pure conjecture. When denied access to the actual lost & found the artist embraced the speculative, generating a playful anthropological display of banal technological contrivances and personal effects. What’s lost, then, is not only “found” by the artist but recreated as pure object, neutral stand-ins for what may or may not exist. By rendering these items in wood they are given new substance and materiality but are stripped of their original use value — the cord does not generate electricity, the pen no longer writes, the iPod will never play. In lieu of functionality these pieces remain static and on display. They present gestures. Shapes and outlines are vague, details are added selectively and objects appear as generic suggestions rather than precise representations. This formal ambiguity places the viewer at the center of a unique process of identification - a kind of visual “lost and found,” activated by the object’s abstraction.”
Joshua Callaghan (b. 1969, Doylestown, PA) is an interdisciplinary artist whose work has been exhibited internationally at venues including Haas & Fischer Gallery, Zurich, Bank Gallery, Los Angeles, Galleria Fortes Vilaça, São Paulo, the UC Riverside Sweeney Gallery, the Guggenheim Gallery of Chapman University, and LA Louver in Los Angeles. He is the recipient of a Fulbright Grant and holds a MFA in New Genres from UCLA. To accompany the work, Callaghan has shared the names of artists who have
influenced his work and artistic practice. A corresponding visual bibliography of books and periodicals is also on view. Located in the Los Angeles Central Library, Works Sited is a series of displays that considers the context of the public institution and explores themes relating to the library’s collections and practices. For further information please contact Olivian Cha at (213) 228-7246 or ocha(at)lapl.org
Central Library
630 W Fifth St
Los Angeles CA 90071
www.lapl.org

by Helen Pidd
A man with three ears will appear at Edinburgh Napier University today to talk about his “extra” ear, which has been surgically implanted on to his forearm.
Australian performance artist Stelios Arcadiou, known as Stelarc, had the third ear created from cells in a lab in 2006. At the Edinburgh Science International Festival today, Stelarc will discuss his plans to install transmitters in his new ear, so people listen to what it is hearing online. He also hopes to grow a soft earlobe using his own stem cells.
The ear is made of human cartilage. Stelarc, who is visiting professor at Brunel University School of Arts, took 10 years to find a surgeon willing to perform the operation. He uses medical instruments, prosthetics, robotics, virtual reality and the internet in his work.
Tagbanger · 04/14/09 
suddenly: where we live now
24 January — 12 April 2009
Opening Reception: Saturday, 24 January, 5-7 pm
In response to Sieverts’s observation, the exhibition—which is global in its scope and reach–seeks to imagine the possibilities of spaces and experiences that have an indigenous history (the parking lot, for instance), but that exist beyond historical definitions of city and countryside, and conventional material cycles of development and disuse. Through a myriad of representations, texts, and activities that offer far reaching symbolic and strategic alternatives to capitalism’s functionalist agendas, the artists and writers in this expansive global project are re-imagining the landscape where we live now as an independent identity to be reshaped in the hands and minds of its occupants.
suddenly includes a range of projects and media such as painting, photography, and video, and also includes community-based activities such as communal dinners, spontaneous public lectures, and a city-wide poster initiative. The exhibition will evolve as it tours the world through 2012.
The Pomona College Museum of Art iteration of suddenly includes the following artists: photographer Marc Joseph Berg, New York; photographer Zoe Crosher, Los Angeles; filmmaker Michael Damm, Oakland; painter Molly Dilworth, Brooklyn; architect, landscape designer, and social practice artist Fritz Haeg, Los Angeles; sculptor and glass artist Elias Hansen, Tacoma; social practice artist Michael Hebb, Seattle; sculptor and photographer Frank Heath, Brooklyn; conceptual artists Hadley+Maxwell, Berlin; new media artist Michael McManus, Portland; social practice artist Mike Merrill, Portland; the collective Mostlandian Citizens Lady O and Junior Ambassador, Portland; photographer Shawn Records, Portland; painter Storm Tharp, Portland; and sculptor and author Oscar Tuazon, Paris.
suddenly comprises a set of exhibitions curated by Stephanie Snyder, director of the Douglas F. Cooley Memorial Art Gallery at Reed College, Portland, Oregon, with an annotated reader edited by author Matthew Stadler, and a series of public events that attempt to re-imagine cityscapes with contemporary art, literature, and the conversations they spark. For more extensive project information, including event listings, audio recordings, and to order project publications, visit: www.suddenly.org.






EVERYTHING, NOTHING, SOMETHING, ALWAYS (WALLA!)
Emily Mast
MFA Thesis Exhibition
Thursday, 5 March 2009, 7-10 pm
One night only!
Performance from 7-10 pm
with Mckinley Belcher III, Ren Bell, Hana van der Kolk, Shannon Haff & Justin Streichman
Jonathan · 03/02/09
The Longest Train I Ever Saw, 14 February — 22 March 2009
Becket Bowes, Barb Choit, Sam Moyer, Kaveri Nair, Lesley Vance, Amy Yao
I sometimes listen to music by Smog and in the song, (In the Pines) The Longest Train I Ever Saw, Bill Callahan sings “The Longest train I ever saw went down that Georgia Line. The engine went by at six o’ clock and the cab went by at nine. In the pines, in the pines, where the sun never shines and we shiver when the north wind blows. Well I asked the captain for the time of day he said he threw his watch away.” and the lyrics are filled with the stuff of loneliness, sex, and death. As it turns out, the lyrics of (In the Pines) The Longest Train I Ever Saw, resonate on a universal level: it’s a traditional folk tune rooted in the late 19th century with themes durable enough for multiple generations of covers and reconstructions by artists as disparate as Lead Belly, Nirvana, Dolly Parton, Bob Dylan, and R.Crumb, to name a few.
As an exhibition, The Longest Train I Ever Saw, is a way to give a collective (if diverse) vision to some of the ideas within the song by bringing together several artists whose work, whether through concept, imagery, or materials, is related to isolation and loneliness. It is meant to be a moody show, a show for February, and coincidentally, a show opening on Valentine’s Day.
Furthermore, and probably most importantly, the exhibition is an opportunity to fill this new, still-forming gallery space with the energy and surprise that a group show of several exciting artists can bring. In its first year the gallery is comprised mostly of solo shows and with this group show, I want to relinquish a certain amount of control and context and bring together a diverse group of voices to see what kind of new noise they might produce.
Jonathan · 02/11/09 
Illicit Haul: Colombian soldiers guard a semi-submersible captured last month with 1.6 tons of cocaine
by Chris Kraul
Reporting from Tumaco, Colombia — Squat, bull-necked and sullen-looking, Enrique Portocarrero hardly seems a dashing character out of a Jules Verne science fiction novel.
But law enforcement officers here have dubbed him “Captain Nemo,” after the dark genius of “20,000 Leagues Under the Sea.” They say the 45-year-old has designed and built as many as 20 fiberglass submarines, strange vessels with the look of sea creatures, for drug traffickers to haul cocaine from this area of southern Colombia to Central America and Mexico.
Capping a three-year investigation that involved U.S. and British counter-narcotics agents, Colombia’s FBI equivalent, the Department of Administrative Security, arrested Portocarrero last month in the violent port city of Buenaventura, where he allegedly led a double life as a shrimp fisherman. (continued)
FormContent is a curatorial project space, initiated in 2007 by Francesco Pedraglio, Caterina Riva and Pieternel Vermoortel in London’s East End. Its mission is to create a space in which to experiment with ideas and exhibition formats, to foster an active collaboration between artists and curators while challenging their roles.
Mineralism
curated by Caroline Soyez-Petithomme
By drawing a diagram, a ground plan of a house, a street plan to the location of a site, or a topographic map, one draws a “logical two dimensional picture.” A “logical picture” differs from a natural or realistic picture in that it rarely looks like the thing it stands for. It is a two dimensional analogy or metaphor - A is Z’. (Robert Smithson, A Provisional Theory of Non-Sites)
A conversation between Simon Boudvin and Caroline Soyez-Petithomme
SB: Why did you choose me for this project?
CSP: When I was thinking of a show to propose to the team of FormContent for their not for profit gallery, your work immediately came to mind. I guess the singularity of the architectural space led me to think about your work. This location strikes me as a sort of “negative” space: an arch under a bridge, which consists of a volume created by a single vaulting. Those non-places also become architectural interstices whose vacuity generate opportunities for artistic practices. In my opinion, the features of such a space (volume, but also material) create an echo to some recurrent issues raised by your work: urban or architectural absurdities that you point out. Recently you have been interested in non-sites: Industrial abandoned buildings or wild lands, surroundings of natural extraction sites, new material fabrication sites, quarries, any material heaps disseminated in urban landscape as well as in the suburbs or in the countryside. You consider the heap — any cairn generated by human activity — as an architectural degree zero.
by Rafael Rozendaal and Nikola Tosic
You can pick up items and put them in the pot and cook up two types of messages: a dreamburger or a big-eats-small animation — and you can send these to three of your friends. They can also reply to you with these bizarre messages.
Jonathan · 11/24/08The 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 1980s 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?
Sack of Bones, curated by Blair Taylor and Ellen Langan
20 November — 20 December 2008
Opening reception: 20 November 2008, 6-9pm
Peres Projects, Los Angeles

Jonathan Horowitz
Obama ‘08
21 October — 15 November 2008
Gavin Brown’s enterprise


Anna Sew Hoy
look-see
14 November — 20 December 2008
Opening date: Friday, 14 November 6-8pm, Renwick Gallery

Anna Sew Hoy
Wrist Cast, 2008
Fiberglass, cotton
218 × 76 × 40 cm
Renwick Gallery @ Zoo Art Fair
Booth C22
Featuring works by Anna Sew Hoy
17–19 October 12–8pm
20 October 12–5pm















