For four saturdays starting today Nero will have a pop-up shop hosted by the Kadist foundation in San Francisco. The shop will be in conjunction with the Imaginary Show, an exhibition curated by Phil Connors, and will feature the magazine and other nero publications and editions. Also the Ghost of James Lee Byars will make a special appearance. opening times: 11am-5pm
MACRO – Museo d’Arte Contemporanea Roma – and DEPART Foundation present “Lay Me Down” American artist Sarah Braman’s first solo show in Italy. Four sculptures, one of which was specially created for MACRO during her stay in Rome, use light, colour, and matter to investigate and reveal the hidden and surprising desires of our world. “Lay Me down” is made possibile thanks to a joint venture between MACRO and the Fondazione DEPART.
Braman’s sculptures are often made using an assemblage of furniture, scrap metal and sometimes abandoned car parts – the work specially produced for MACRO will be made of steel, plexiglas, found objects, and paint.
For the artist, these works’ strong tangible presence represents monuments to the people I love, to the joy and confusion I feel in being alive. Her scupltures act as a porthole to another dimension yet also appear as things among things and indeed, they do not exist as [mere] references, allusions, representations, or metaphors [but] remain in our world as themeselves, real as a table or a tree.
April 30 – July 23
Fondazione Giuliani – Via Gustavo Bianchi 1 – Rome
With a keenly perceptive and sharp wit, Ahmet Ö?üt examines everyday happenstance, modes of behaviour and informal gestures which bear witness to broader global social and political structures. Through diverse means of expression, from installation and performance to drawing, video and interventions in public space, Ö?üt weaves loose narratives that meander between artistic practice and social life to provoke critical consciousness and subtle shifts in perspective.
In Once upon a time a clock-watcher during overtime hours, Ö?üt’s solo exhibition at the Fondazione Giuliani, the artist moves his practice in a new direction, using an art collection as source material. Ö?üt has selected works by Marina Abramovic, Giovanni Anselmo, Carl Andre, Mircea Cantor, Peter Coffin, Cyprien Gaillard, Joseph Kosuth and Sislej Xhafa from the Giuliani Collection to create “atmospheres” or interventions around each work which call attention to the characteristics of the works themselves, while also appropriating them to create multi-layered narratives with an open trajectory to generate and expand upon new meanings. Underlining these interventions is the consideration that no artwork has one single reading but is open to subjective interpretation. While paying homage to the works by these artists, Ö?üt questions authorial originality and intentionality. He creates visual texts, which invite the viewer to really ponder a work of art while formulating new considerations and multiple readings.
We are pleased to announce that Elisabetta Benassi and Giulia Piscitelli, with which we are collaborating for two new publications coming out in June, will be participating at the 54th International Art Exhibitions of the Venice Biennale, with the title of ILLUMInazioni – ILLUMInations, directed by Bice Curiger and organized by la Biennale di Venezia under the presidency of Paolo Baratta.
The exhibition will be opening on Friday, June 3rd, and will be accessible to the public from Saturday, June 4th to November 27th 2011 in the Giardini and the Arsenale.
The preview will be taking place on June 1st, 2nd and 3rd, 2011.
April 15 – June 15, 2011
Opening 15.04.011, 7 pm
T293, Via Tribunali 293, Naples
For its first solo exhibition at T293, the duo Keller/Kosmas (Aids-3d), has ambivalently embraced its position as prosumer spider-agents, deftly navigating a value-added web of conceptual-creative-commercial competition. Acting as both patron and proprietor of an all-you-can eat-buffet, Aids-3d dynamically hedges its positions — deciding, juxtaposing and networking to effectively manage their risk while providing unique works which attempt to satisfy market criteria. The show title is a misappropriation of the economic term for a type of complex derivative which was coined by financial engineer Mark Rubinstein in his 1990 paper Exotic Options. These risky trades were summed up by former chairman of the Federal Reserve Paul Volcker as “speculative or purely financial activities that have little to do with the performance of the American economy.” The use of these and other highly abstract and difficult-to-understand instruments created an almost tautological market, where banks thought they could eliminate risk and win in every situation.
April 20 – May 21 2011
April 20 5Pm Amenhammerameno. A Performance by Luigi Ontani at Hammer Museum
April 20 6.30Pm Opening of the show at IIC
IIC, Hammer Museum and La><Art, Los Angeles, CA
When in Rome presents for the first time in a group show the work of some of the most interesting artists associated with the city of Rome and its enviro+ns. Through painting, installation, conceptual art, pop culture, performance, cinema and music, the project aims to read the works in their own individuality, in a strongly suggestive display. The works will, in fact, be exhibited within a stage, a real-life environment.
The show is structured in three levels: an exhibition component at the IIC, a special project at the Hammer Museum and a site-specific collaboration with La><Art.
The title originates from the appropriation of the English-language proverb “when in rome, do as the romans do”, a universal formula which highlights the necessity to adapt to local customs when one finds oneself in a geographic, social or cultural context different from one’s own. The main purpose of the exhibition is, in fact, to present works of art and artists from Rome in a city like Los Angeles, keeping in mind not so much the specific or typical peculiarities of this city as much as the cultural and aesthetic prerogatives that make up the background for the reception and fruition of the show itself.
The common risk for shows of this kind is that of wanting to define, almost always with no real basis, a more or less evident local and cultural quality that connects the artists, artworks and geographical context.