calendario eventi  :: 

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15/10/2001

5 exhibitions

MoMA PS1, New York

JANET CARDIFF A Survey of Works Including Collaborations with George Bures Miller
October 2001 - January 2002

P.S.1 presents Janet Cardiff: A Survey of Works, Including Collaborations with George Bures Miller, the first mid-career survey of the Canadian artist Janet Cardiff?s artwork. The exhibition includes a selection of the artist?s most significant installations as well as a survey of her "Walks." Curated by P.S.1 Senior Curator Carolyn Christov-Bakargiev, the show brings together all of Cardiff?s major installations, including To Touch (1993), The Dark Pool (1995), Playhouse (1997), The Muriel Lake Incident (1999), and Forty-Part Motet (2001), and is the first and most comprehensive survey of Cardiff?s work to date.

Cardiff (b. 1957) has gained international recognition for her audio and video "Walks" in which visitors, while listening to a CD walkman or watching the screen of a camcorder, follow the artist?s directions through a site, and become involved in the stories embedded in Cardiff?s recorded instructions and suggestions. Voices, footsteps, music, sounds of cars and gunshots make up a fictional soundtrack to an actual walk through real indoor and outdoor spaces. Cardiff?s works involve the conventions of cinema and science fiction and explore the complexity of subjectivity in today?s highly technological world, where the distinction between sensation and imagination continuously collapses. In Cardiff?s "Walks," characters narrate dreamlike recollections of particular events, and refer to the participant?s physical surroundings. Shifting between past and present, memory and reality, Cardiff?s stories become a manipulation of the "real" and of a participant?s projections, fantasies and desires. This survey will present documentation of Cardiff?s most significant "Walks" in a unique and innovative way.

Janet Cardiff was born in Brussels, Ontario, in 1957 and lives and works in Lethbridge, Alberta, Canada. She and artist George Bures Miller currently represent Canada at the 2001 Venice Biennial, where they were awarded a prize for The Paradise Institute (2001). Cardiff has created site-specific audio and video works for a number of group exhibitions, such as NowHere, Louisiana Museum, Humlebaek, Denmark (1996); Skulptur Projekte, Münster (1997); São Paolo Biennial (1998); La Ville, Le Jardin, la Mémoire, Villa Medici, Rome (1998); The Carnegie International, Carnegie Museum of Art, Pittsburgh (1999); The Museum as Muse, MoMA, New York, (1999); and 010101, SFMoMA, San Francisco (2001), among others. In 1999, Cardiff was also commissioned by Artangel to create a walk in London, titled The Missing Voice (Case Study B).


ANIMATIONS
October 2001 - January, 2002

P.S.1 is pleased to present Animations, an exhibition showcasing the unique ways in which contemporary visual artists address animation as a medium and subject. Animations focuses on the implications of living in an age where visual experience is informed by new technologies, and where the "reality" of live action film and the imagined worlds of animation have blurred together. With works by more than thirty artists, this exhibition addresses the utopian beginnings of the medium, the relationship between analog and digital, between graphic form and 3-D animation, and between commercial and experimental animation.

Works include New York-based artist Karen Yasinsky?s premier of "Fear" (2001). Her work uses stop-motion animation to tell ambiguous tales of personal interaction, in which her characters seem to be hobbled by their own construction, moving in an atmosphere of wistful emotion. South African artist William Kentridge?s "Memo" (1993-94) will be shown outside of South Africa for the first time. "Memo" combines live action film with drawing and recalls the beginnings of animation at the turn of the last century. On the other hand, French artists Pierre Huyghe and Phillippe Parreno?s videos "Two Minutes out of Time" (2000) and "Anywhere out of the World" (2000) address the contemporary corporate context of much animation today through the "plight" of Annlee, a ready-to-use anime character that the artists purchased from a Japanese cartoon agency for their international project "No Ghost, Just a Shell," through which the artists have "saved" Annlee from imminent disposal by the manga comic industry. This exhibition also includes works by Haluk Akakçe, Francis Alÿs, Peggy Ahwesh, Oladele Bamgboye, Jeremy Blake, Angus Fairhurst, David Galbraith, Liam Gillick, Claudia Hart, Simon Henwood, Alex Ku, Liane Lang, Kristin Lucas, Christine Mackie, Melissa Marks, Jennifer & Kevin McCoy, Jonathan Monk, Juan Muñoz, Damian Ortega, Sven Påhlsson, Jenny Perlin, Liliana Porter, Possible Worlds, and Teresa Seeman.

Animations also presents an array of artist-designed rooms that offer unique spaces where visitors can interact with other works. If "to animate" means to "give a soul," New York-based artist Gareth James reasons that the Frankenstein monster is the ultimate symbol of animation, and transforms a room within the exhibition into the laboratory of a mad doctor. A "folly/arcade" designed by New York-based artist John Pilson and architect Andrea Mason offers visitors the opportunity to view works selected from hundreds of international animated films. Web artist Paul Johnson makes his own working projectors and computers from the most quotidian of elements. Johnson has designed a web animation room which features a selection of web-based animation, from stand-alone applications to interactive games. Artists include: BASICRAY, Natalie Bookchin, YOUNG-HAE CHANG HEAVY INDUSTRIES, Mark Daggett, Joshua Davis, Andy Deck, Xeth Feinberg, Alex and Munro Galloway, JODI, John Klima, Golan Levin and Casey Reas, Sebastian Luetgert, Panajotis Mihalatos, Mouchette, Mark Napier, and Eric Zimmerman and Word.com. Finally, P.S.1?s vault features historical programs and film-based hits of animations in a room reminiscent of the cinema experience.

This exhibition is curated by P.S.1 Senior Curator Carolyn Christov-Bakargiev with P.S.1 Associate Curator Larissa Harris. The web animation section is curated by P.S.1 Director of Education and Public Programs Anthony Huberman. Consultants: Giannalberto Bendazzi, John Canemaker, Norman Klein and Karyn Riegel.


RICHARD DEACON
October 2001 - January, 2002

P.S.1 Contemporary Art Center presents Richard Deacon: Recent Work, a major exhibition of artwork by British sculptor Richard Deacon. For this occasion, Deacon (b. 1949) presents five new works from the (Infinity) series created for P.S.1?s outdoor galleries. Made of interlocking stainless steel modules, the works are installed throughout the main outdoor gallery and appear to "float" above the surface of the ground. Deacon addresses the relationship between public and private space, sensuality and the body, as well as memory, poetry and language. This exhibition also includes Where is Man and Where is Death? (2001), and two photographic works, Los Angeles #1 (2001) and Whitesands Bay #1 (2001). Richard Deacon: Recent Work is curated by P.S.1 Director Alanna Heiss.

With the (Infinity) series, Deacon pushes the limits of the notion of "skin," working with the concept of "non-shape" to explore the relationship between boundary and fluidity. The artist begins with a modular shape that is defined by nodes and recesses, suggesting an organic, molecular structure. The final form of each work is not predetermined, and the modular shape an individual panel allows for the possibility of infinite recombination. With their puckered and highly polished surfaces, the appearance of the interrelated works seems to shift, being at once fixed and fluid, being both formed and formless.

Deacon was artistic advisor for the renovations and redesign of P.S.1?s 25,000-square-foot "outdoor galleries," which opened in 1997. The outdoor galleries are unique in providing Deacon a space for formal presentation of artwork while remaining open to the fluctuations of the real world. A second outdoor sculpture, Where is Man and Where is Death? (2001) is a curving asphalt and gravel form that appears to emerge from the ground. Three aluminum planks are set into the asphalt loop, which interrupt its continuous flow. In contrast to his previous monumental sculptures, Where is Man and Where is Death?, along with the ¥ sculptures, exists on a more human scale, with viewers allowed to walk on and over it.

Richard Deacon was born in Bangor, Wales, in 1949, and lives and works in London. He is one of a generation of British sculptors who came to international recognition during the 1980s, and he was awarded Britain?s Turner Prize in 1987. Deacon?s works have been presented in solo exhibitions at the Serpentine Gallery, Whitechapel Art Gallery, and the Tate Gallery in London, the Museum of Contemporary Art, Chicago, Musée d?art moderne de la ville de Paris, Paris, and a major retrospective at the Tate Gallery Liverpool in 1999. His works has been exhibited at numerous group exhibitions, including Skulptur Projekte, Münster (1987, 1997); and Documenta IX, Kassel (1992).


KENNY SHARF
October 2001 - January, 2002

P.S.1 Contemporary Art Center presents two major paintings and a series of thirty painted "cels" by American artist Kenny Scharf. Installed in P.S.1?s duplex gallery, Scharf?s "cels" (frames that comprise an animated cartoon) are part of a series of designs for "The Universals," an animated television special that will debut on the Cartoon Network in Spring 2002. This exhibition also features The Last Painting of the Century (1999) and Ultrazoomazipzamapopdeluxa (1998), two large paintings depicting retro-futuristic worlds of animated plants, monsters, abstract forms, and graffiti. This exhibition is curated by P.S.1 Director Alanna Heiss.

"The Universals" (1998-2000) quote Scharf?s own Pop Surrealist style and adds narrative to his characteristic combination of earth and space, and of the natural and the artificial. In 1999, Scharf initiated a series of notebook-sized paintings that became his "pitch book" for an animated television show that he brought to the Cartoon Network. These paintings present a boldly colored world of alien lounge singers, flying saucers en route to modified ziggurats, and one-eyed nymphs bounding naked through nuclear landscapes. "The Universals" were initially presented to the public in the form of mannequins, modeling clothes in the windows of the Saks Fifth Avenue department store. With this television show, Scharf continues his effort to incorporate his fantastical art into everyday life.

The Last Painting of the Century (1999) and Ultrazoomazipzamapopdeluxa (1998), two large acrylic, oil and spray paint works, use figurative and abstract elements to represent energy, motion, and the relationship between reality and imagination, freedom and control. The Last Painting of the Century is, in the artist?s words, "One last big hurrah for the last century" that evokes themes in 20th-century art: the grid, speed and surrealism. Ultrazoomazipzamapopdeluxa, painted in public in the lobby of the Museum of Contemporary Art, San Diego in La Jolla, is a twenty-two foot long scene of curling vines, suspended spheres and animated shapes moving across a multicolored background pierced by windows looking out to the cosmos.

Kenny Scharf was born in 1958 in Los Angeles, California, where he lives and works. He moved to New York in 1978 to attend the School of Visual Arts, where he befriended Keith Haring and Jean Michel Basquiat, whose art was also shaped by TV imagery, Pop Art and street culture. He was a P.S.1 Artist-in-Residence in 1981-1982, and his work was shown at P.S.1 in New York, New Wave (1981) and Space Invaders (1982). Blurring the line between high and low art, Scharf exhibited work in storefronts and tagged Manhattan sidewalks with popular cartoon characters, and his art became internationally known during the 1980s. He has had solo exhibitions at The Fort Lauderdale Museum of Art, the Center for the Fine Arts, Miami, University Galleries at Illinois State Univ. in Normal,Illinois, and the Monterrey Museum of Art, Mexico. In May 1997, Scharf was the first artist, other than Salvador Dalí, to have a solo exhibition at the Salvador Dalí Museum, St Petersburg, Florida.


JESSICA CRAIG MARTIN
October 2001 - January, 2002

P.S.1 presents works by British artist Jessica Craig-Martin, whose photographs document parties of the rich and famous. From a benefit in Cannes to society parties in the Hamptons, Craig-Martin?s crisp, oversize images capture the follies of the glamorous life, focusing on unedited details and awkward exchanges. Cropped to protect the subject?s identity, each photograph becomes a garish still life that permits a close study of glossy, bleached hair, bulbous breasts, and heavy jewels-all the raw materials for society?s jet set. This exhibition is curated by P.S.1 Director Alanna Heiss and Chief Curator Klaus Biesenbach.

Craig-Martin's work reveals the gap between the set-up shots printed in "society pages" and the reality behind the camera. As a photographer for American Vogue and Vanity Fair, she has access to a rarefied world that, as seen through her lens, is perhaps as full of folly and bad manners as a high school cafeteria.

While closely observing the lives of VIPs has become a favorite national pastime and voyeurism almost an obsession, these images juxtapose familiarity with suspicious ambiguity. Unlike traditional event photographers, Craig-Martin uses her camera surreptitiously, breaking down myths of wealth and beauty that propel fashion photography and sustain the beauty industry.

Jessica Craig-Martin?s work has been published in The New York Times Magazine, Vogue, Vanity Fair, Index, and I-D. Her solo exhibitions include: Galleria Maze, Turin (2001); Dorothée de Pauw Gallery, Brussels (2001); Colette, Paris (2000); and Maureen Paley Interim Art, London (1999). Group exhibitions include I am a Camera, The Saatchi Collection, London (2001); Greater New York, P.S.1 (2000); Party Pictures: From Studio 54 to Cannes 2000, Lawrence Rubin Greenberg Van Doren Fine Art, New York (2000); superpredators, CRP, New York (2000); Innuendo, Dee Glasoe, New York (2000); and Sentimental Education, Deitch Projects, New York (2000).


P.S.1 Contemporary Art Center is located at 22-25 Jackson Ave at the intersection of 46th Ave in Long Island City, 11101.

Hours and Admission
P.S.1 is open from Noon to 6:00 p.m. Wednesday through Sunday.
Admission is a $4.00 suggested donation $2.00 for students and seniors members free.

For additional information, please contact P.S.1 by phone 718.784.2084 or e-mail

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