A seminar by Piero Golia
1 December 2010 at 6.30 p.m.
Nomas Foundation, viale Somalia, 33 Rome
In occasion of the fifth appointment of the Reading Room, which this year concentrates on initiatives established by artists for artists, Nomas Foundation presents The Mountain School of Art, a seminar with Piero Golia.
The Mountain School of Arts is a free university founded in 2005 in Los Angeles by Piero Golia and Eric Wesley. Located in a bar in Chinatown, the university offers a complete academic programme to its fifteen students. The Mountain School of Arts is an independent university that aims at completing the traditional American academic system. Renown professionals from the field of art, cinema and music give free three-monthly courses in Arts, Science, Philosophy, Marketing and Law. The talk offers an insight of the project and aims to stimulate a discussion on art education and its financing, and the possibility or need to initiate similar projects in Italy.
A talk curated by Cecilia Canziani and Ilaria Gianni | Chair of debate: Luca Lo Pinto
Corvée by Sam Griffin
26 November 2010 – 15 January 2011
Gallery Vela – 38 Langham Street
The secret of corporate aesthetics is the power of elimination, the celebration of the efficient, the eradication of excess: abstraction as camouflage, the search for a Corporate Sublime.
Rem Koolhaas, Junkspace
The view from the top of 30 St “Gherkin” Mary Axe is a vista worthy of Caspar David Friedrich. Man appears as an insignificant but critical cog in the flow of capital, as it ascends the glass elevators of the Lloyds building, floats in a hedonistic fog lubricated by speculative financing in the bar of Tower 42, and watches the Pinnacle ascend to the heavens from its Bishopsgate pit. James Rosenquist’s Swimmer in the Econo-Mist beckons from beyond the lobby doors of Deutsche Bank, as Pret refuels assistants between meetings and commutes. Architecture gives wipe-clean form to corporate rapture – framing the heavens and reflecting the sky – whilst lobbies overflow with trees, high-tech and breezeway suburban designs, connoting the ecological order of “vest-pocket“ urban parks, in high-rise office buildings.
Contemporary artists are the perfect late-capitalist workers – freelance, mobile, with no pension and personal responsibility for their overheads: intensely self-motivated entrepreneurs acting in their own material interest. Museums emerge as Frankensteinian cut-n-shuts of office, shopping mall, restaurant and lobby space. Does an adoption of the architectonics of businesses work as a sweetener to corporate philanthropy? Did MoMA’s 2004 renovation really do away with an indoor sculpture garden, in favour of further canapé space and the ‘enchantment of a bank after hours’?
11 November – 23 December, 2010
Bortolami Gallery – 520 W 20th Street
New York 10011
Smackville, the second solo exhibition of Avner Ben-Gal at Bortolami Gallery, draws from abstract and visual representations of the effects of opiate drugs: withdrawal, craving and usage. The show seeks to describe the moment of the chemical reaction when the toxic substance intrudes the body and is infused into the bloodstream. The works convey a will for redemption, rather than a need to be rehabilitated.
As a prelude to the opening reception, Bhakti Baxter invites you to join him in a PowerPoint presentation that seeks to bring together a plethora of subjects through free association and imaginative interpretation. Incorporating images of hurricanes, electromagnetism, fractal geometry, architecture, tapestries, philosophy, and the un-like, Baxter will take us through a series of still images while injecting personal anecdotes with humor and curiosity. Questions or comments are welcome throughout the entire 45 presentation.
For more information, please contact:
Federica Schiavo Gallery, tel. +39 0645432028 or email@example.com
Opening November 22 at 7.00 pm
Area 63 – via f.negri 63 (Ostiense)
Estasy performance at 7:30 pm
November 30 - May 1
Hamburger Bahnhof – Museum Für Gegenwart – Berlin
The New York-based artist Cory Arcangel (* 1978) uses his work to explore the practices and myths that have built up around Internet culture, pop music and experimental music. In processing visual and audio material for his works, he not only uses and adapts available computer programmes but also develops his own programming to do so.
Far from being merely interested in current trends in the entertainment industry and in our everyday use of the Internet, the artist also highlights the rapid obsolescence of technologies and codes. Cory Archangel mixes and matches his works, each time presenting them in a new constellation to each other and applying them in different settings. Depending on the situation, for instance, he combines older and more recent video works with sculptural works, while the material for a music performance may also reappear in a video installation or in an Internet project.