October 31, 2010 – January 16, 2011
Wallis Annenberg Photography Department
Los Angeles County Museum of Art (LACMA)
William Eggleston is widely recognized as a master of color photography, a poet of the mundane, and proponent of the democratic treatment of his subjects. His inventive use of color and spontaneous compositions profoundly influenced the generation of photographers that followed him, as well as critics, curators, and writers concerned with photographs.
This exhibition includes more than two hundred photographs, the artist’s little-known video work Stranded in Canton, his early black-and-white photographs of the sixties (click archive in www.eggelstontrust.com), and the vivid dye-transfer work of the early seventies, as seen in the Museum of Modern Art’s landmark catalogue of 1976, William Eggleston’s Guide. Highlights from the last twenty years includes selections from the Graceland series and The Democratic Forest, Eggleston’s great, dense anthology of the quotidian. The exhibition includes a special selection of recent work taken in Los Angeles. LACMA’s curator of the exhibition is Edward Robinson, Wallis Annenberg Photography department.
William Eggleston: Democratic Camera was organized by the Whitney Museum of American Art, New York, in association with Haus der Kunst, Munich. The Los Angeles presentation was made possible by LACMA’s Wallis Annenberg Director’s Endowment Fund, The Jonathan Sobel & Marcia Dunn Foundation, the Eggleston Artistic Trust and Cheim & Read.
Exhibition-related programs are supported in part by a generous gift from the Photographic Arts Council and by the Ralph M. Parsons Fund.
Mentr’io penso tu vediti questo
October 28th – December 1st 2010
curated by Laura Barreca e Francesco Pantaleone
Galleria Francesco Pantaleone Arte Contemporanea – Palermo
Milena Muzquiz was born in Tijuana and now lives between Los Angeles and Palermo. She is one half of music/art collaboration Los Super Elegantes and individually develops her own art that embodies an eclectic combinations between visual art, music and theatricality. With Los Super Elegantes she goes through the international scenes with an original, lo-fi, punk-psychedelic and sensual style. Her visual work, as defined on Centre for the aesthetic Revolution, is a meta collage of forms, formats and references, portrays and deconstructs contemporary culture, aesthetic relations and human existence.
For the first time in Italy she exhibits in a solo show at Francesco Pantaleone Gallery. In this occasion a group of works related to a one year long project in Palermo will be shown. Some pictures of this are published here below.
November 5th – Dicember 18th
129—131 Mare St - Hackney - London
A major retrospective exhibition of the work of Mary Barnes.
In 1965 radical psychiatrist R.D. Laing co-founded an experimental therapeutic community at Kingsley Hall in Bow, East London. Presenting herself on the brink of a serious mental breakdown, Mary Barnes (1923-2001) was Kingsley Hall’s first resident. Under the guidance of Laing and his colleagueJoseph Berke, Barnes underwent a near total behavioural regression. Refusing to eat, dress or wash, she was in her own words “going down.”
Around this time she produced her first artwork – a pair of black breasts painted on the wall of her room in her own shit.
This exhibition presents painting, drawing, sculpture and writing produced by Barnes between 1965 and the late 90s alongside an extensive archive of documents, films, audio recordings and photographs relating to her work and the legacy of R.D. Laing’s thought.
November 4th – h.22.30
International Rome Film Festival
Special Event - L’Altro Cinema | Extra
Auditorium Parco della Musica – Rome
curated by Lorenzo Gigotti and Valerio Mattioli
Italian version below
During the last couple of years a new generation of artists spread around Europe and the USA have coined a new visual language never heard of before. It represents a reflection of the past and a manipulation on the concept of memory by meditating on an Era throughout totemic-mysterious aspects (on the two decades, 80’s and 90’s in the way that these become filtered from a more dreamy rather than realistic memory) perceived as an origin and principle of today’s informational society.
Together they form one of the most vital and influential networks of all times: from their pockets came out records, unconventional video clips, artworks that were instructive to others and video art experiments full of absurdities. The english critic David Keenan, wrote on the the magazine The Wire about some of this work and called it “hypnagogic pop”, as on the web, the webzine Pitchforck replied speaking of “glow-fi”, a term which blends the concept of low fidelity ( lo-fi) and the visual feel of glow (soft light, fluorescent, twilight).
The protagonists of this breathtaking season are underground, often active on multiple levels (music, illustration, performance, production of fanzines) and are all accompanied by the same feeling of do it yourself attitude. Veterans of the web era, they research the imaginary half way between video art in its most esoteric expressions and some strange form of late psychedelic pop, purposely portrayed in its DIY aspect. Lo –Fi , in fact.
“Post Tv” presents for the first time in Italy the most significant names of the scene, in the attempt to deliver a portrait of an aesthetic that exploits the web, re-writes the usual creative context and the circulation of the moving image, being these artistic, cinematographic or even within the television system.
Cadeo – Cosmotropia de Xam – Kevin DiTrapano – James Ferraro – Forcefield – Todd Ledford – Daniel Lopatin – Michele Manfellotto – Megazord – Takeshi Murata – Paper Rad – Daniel Swan – Sunset – Television – TV Carnage – Luke Wyatt – Alivia Zivich.
October 20th – h. 21
Teatro Studio – Auditorium Parco della Musica
Emeralds and Oneohtrix Point Never are two of the most interesting music projects of the contemporary underground scene. Both americans, they are representative of the so called hypnagogic pop as defined by David Keenan: “Based on a creative mishearing of hyperreal 1980s chartbusters, is a phenomenon sweeping America’s DIY underground: a questioning post-Noise network that worships New Age music and uses half-remembered hits as portals to the subconscious”.
The show is to be considered as a preview of Post Tv – Lo-fi for the eyes, a unpublished screening event of International Film Festival of Rome (November 4th – Teatro Studio – Auditorium), about the emergent video network related to hypnagogic music, an utopian and dreamy vision of 80′s, a lo-fi mix of VHS, psychedelia, noise, TV and video art. Will keep you posted about this.
Symposium at the Istituto Svizzero di Roma
October 15–16, 2010
curated by Reto Geiser
The DEPART Foundation and the Istituto Svizzero di Roma (ISR) present WHAT EVER HAPPENED TO ITALIAN ARCHITECTURE, the first installment in a series of planned biennial symposia that aim to explore the productive intersections and overlaps between art, architecture, and design, will take place at the Swiss Institute in Rome October 15-16, 2010. This two-day symposium will bring together emerging and established voices to discuss the current state of Italian architecture.
In the second half of the twentieth century, such singular figures as Aldo Rossi, Vittorio Gregotti, or Manfredo Tafuri, and collaborative practices such as Archizoom or Superstudio, not only shaped the architectural culture within Italy, but also took a prominent position on the stage of international discourse. Italian architecture gradually disappeared from the limelight as commercially driven forms of building replaced politically motivated manifestos and bold architectural visions in the advent of postmodernism.
How has Italian architecture since developed? What does Italian architecture mean today? What is the background against which architecture is currently produced in Italy?
An inherent part of every society, architecture works as an indicator of political, economic, and cultural conditions, as well as their transformations over time. It is consequently a goal of the symposium to consider the architectural production in Italy and the role of the architect with respect to a larger socio-cultural context.
Architects, architectural historians, and critics from both Italy and abroad, will come together at the Swiss Institute in Rome (ISR) to present and debate their intellectual positions and practical approaches to Italian architecture from the past to the present.
Alberto Alessi, Sandy Attia, Pippo Ciorra, Fabrizio Gallanti, Francesco Garofalo, Filip Geerts, Joseph Grima, Mark Lee, Elli Mosayebi, Matteo Scagnol, Paolo Scrivano, Martino Stierli, Pier Paolo Tamburelli, and Mark Wasiuta will look at the last sixty years of Italian architecture, considering contemporary developments and positions in order to debate future potentials.
The first part of the symposium will be dedicated to exceptional initiatives, institutions, and projects that evolved from the early to the late twentieth century. The second part will offer a platform to discuss the work of emerging voices in Italian architecture. In a concluding roundtable discussion, participants will consider the interrelations between design and policy, specifically focusing on the future role of the architect. Participants will frame their discussion within a larger historical and international context, comparing current Italian architectural production to developments worldwide. From tracing socio-political and cultural characteristics of contemporary Italian architecture to uncovering the political realities that serve as the backdrop of the country’s cultural production, it is the goal of this two-day symposium to foster critical discourse and enable open exchange about contemporary Italian architectural culture.
Admission is free. The programme is here below.