Sunday, 30 November 2014

London Alternative Photography Collective

2 December 2014
71a Gallery
71a Leonard Street
London EC2a 4QS
On Tuesday 2nd December at 6.30pm, London Alternative Photography Collective ( will be meeting at71a Gallery, Shoreditch.




Fractal Scars, Salt Water and Tears invites us into a liquid dream-like world of desire. Cascading waterfalls and seashells whispering the lapping of waves are juxtaposed with statues, who seem to be stepping out of the stone from which they are carved. A large-scale backdrop of a cave is painted in dripping inks. Languid female nudes punctuate mythical landscapes, auto-erotic in their gaze and gesture, eyes turned away or averted to storm clouds above them. A pregnant woman lies under a night sky with a child lying between her thighs, another rests on her elbow, back turned, swallowed by the darkness of the boat-bed she is lying upon. Sisters, friends, lovers, strangers, these women of flesh and stone tell us of pleasure and longing.
Teichmann's practice uses still and moving image, collage and painting to create alternate worlds, which blur autobiography and fiction. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. Both filmic works and photographs of turned away bodies and primordial spaces of enchantment work with the relationships between images, and the narratives these juxtapositions create.
Across writing, photographic works and film pieces, we move from real to imagined spaces, exploring the relationship between loss, desire and the imaginary. Within staged fantastical images, the subjects are turned-away figures of loss, desired but always already beyond reach. The photographic medium is worked upon with painting, collage and montage, narrative voice over juxtaposed with moving image. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in inks and bathed in subtle hues of tinted light. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, from the mother to the lover in search of a primordial return.
Into, Out From, Through: Esther Teichmann and the Photograph as a Portal calls for a new way to look at photographs, not as mirrors of or windows into the world but as portals between personal and universal, reality and supernatural and photography and other mediums, examining the work of Esther Teichmann in these terms. Through the layering of memory, desire, fear, fiction and fantasy, Teichmann uses and extends the photographic medium as a passage between realms of experience and artistic creation. Her work exploits the tension between photography’s relationship to reality and sense of otherworldly power. This complex, even troubled relationship with the medium has yielded a passionate foray into others. - Jessica Brier (SFMOMA curator of Photographs - Introduction to Daylight Digital feature)

Biography: German/ American artist Esther Teichmann (b. 1980) received an MA and PhD from the Royal College of Art. Primarily based in London, she is senior lecturer at the London College of Communication, lecturer at the Royal College of Art and spent 2012/2013 as guest professor at the California College of the Arts in San Francisco. Teichmann has both published and shown her work internationally. In the last year, she participated in group exhibitions at the Houston Centre of Photography and the Dong Gang Museum of Photography in South Korea. Teichmann has recently been published in Carol Mavor's Black and Blue (Duke University Press) and Mavor's Blue Mythologies (Reaktion Books). New visual and written works are featured in issue 51 (2014) of the Spanish/ Mexican Photography biannual EXIT and on Daylight Digital (2014), with an essay by SF MOMA curator, Jessica Brier. Fractal Scars, Salt Water and Tears was shown at Flowers Gallery in London in May and will tour to Paris for the Levallois Award in October. Teichmann produced Vol V of Self Publish Be Happy’s book club edition. The Fall issue of Hotshoe, So it Goes and the winter issue of Cabinet magazine feature new work. Teichmann will be included in the 2015 Phaidon book by David Campany of his 100 favorite photographs. In 2015 Esther has solo and group public space shows in London, Paris and Germany. Alongside her own visual practice, Teichmann writes, edits and curates, currently working on a collaborative curatorial and book project with the artist Christopher Stewart (published by Black Dog and showing in the LCC galleries in 2015), Staging Disorder , featuring artists such as Sarah Pickering, Adam Broomberg and Oliver Chanarin, Richard Mosse and sound artists from CRISAP (UAL sound arts research centre) and writers such as Dr. Jennifer Good, Prof. Alexandra Starva, Prof. Howard Caygill amongst others. In the past Teichmann has written and edited pieces for Foam museum (Amsterdam) and programmed a talk series for the Photographers’ Gallery (London).


Guy Paterson has been teaching both Alternative Photographic Processes and Cameraless Photography for over 13 years at Central St. Martins and elsewhere.
His own work approaches photography from a fine art print background combining photomechanical techniques with conventional photography.
Fascinated by what we leave behind - both in the form of artefacts and redundant technology. His work often re-appropriates and reassigns obsolete industrial equipment, materials and techniques questioning our standing and perception of history and therefore progress.
For him the stripping of photography to its basic essentials allows both a typological analysis and a rich personal aesthetic.

Experimental Turntable Music

Friday 19 December 2014
Skalitzer Str. 133
10999 Berlin
Doors: 9 PM
Starts: 10 PM
Experimental Turntable Music 

Turntablist Joke Lanz creates autonomous sound-cells that melt into a language free of any function. He combines ritual reductionism with anarchistic playfulness, atmospheric soundscapes with cut-up noise and physicalness with unpredictability: Massive scratches, walls of sound, grooves, loops, noises and voice modulations! Also known for his international acclaimed Noise project 'Sudden Infant', he collaborated next to his turntable solo shows with: Shelley Hirsch, Jorge Sanchez-Chiong, Mat Pogo, Strotter Inst, Christian Weber, Christian Marclay, DJ Olive etc.

Camilla Sørensen and Greta Christensen have worked together since 2001 modifying, deconstructing and reconstructing turntables and vinyl records for their artistic needs as the Danish duo Vinyl Terror & Horror. The results of these modifications are amazingly detailed and well executed noise compositions — raw, lo/hi tech stuff! Their approach to music starts from a visual and sculptural practice. They are working in the field of cinematic soundscapes with a high tolerance level of possible hi- fi disasters. Sentimental heartbreaking sequences where the opera singer is looping and the birds are singing backwards……. untill the breakdown of needles and chaos taking over.

Ghost in the machine music – vinyl dissonance for lost memories: a live dubbed rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drum machines. London based artist Graham Dunning makes things in lots of different formats, but generally to do with either Sound or Found Objects in some way. Dunning has solo releases on Entr'acte, Exotic Pylon and various DIY labels; Webster and Dunning have released recordings through Linear Obsessional and Raw Tonk.

Rebecca Agnes: Dys-functional cities



 6.30PM - 9PM

20154 MILAN

On December 11, 2014, Davide Gallo gallery is pleased to present the solo exhibition of the artist Rebecca Agnes, entitled “dys-functional cities”.
Always been sensitive to the metropolitan aspect of existence, in this latest project Agnes faces the issue of dichotomy, within the urban space, among the limits and restrictions that architecture often hides behind the guise of an impeccable formal aspect, and the utopia that it tries to resolve through audacious urban experimentations. The project includes a series of drawings and two embroideries.

The drawings in which the artist uses a personal data, refer to cities and real places, they are a travel notebook just as nineteenth-century travelers used to have. The drawings report the deceit of metropolitan beauty that actually hides restrictions and closures. There are limits that can remain hidden to those who do not have a direct experience of them, their obviousness can elude custom or hide behind beauty. The processes taking place in the cities are an expression of how our society is structured. The drawings are a criticism to the organization of the city space that often does not take into consideration the real needs of the citizens, but tries to homologate individuals to a standard, excluding those that are dissimilar or alternative to a traditional social order. 

The embroideries, which act as counterpoint to the drawings, are thoughts about alternative approaches to habitability. 

The first embroidery is entitled "Phalanstère, Familistère, unité d'habitation/ Phalanstery, Familistery, housing unit". This work is a brief historical excursus, which starts from the first proposals for utopic urbanism to get to modernism, and to urban complexes made in recent years. The embroidery represents a landscape from which emerge three architectures connected by a road-trail.
The first is the “Phalanstery” of Charles Fourier (1822), residential facility in which the life of members of the base social unit named "Phalanx" takes place. The Phalanstery is actually the project of a real city, a unit thought for 1620 inhabitants that develops in a series of buildings connected with each other to create one regular building. It is a self-sufficient city that produces and works collectively. Pursuing this path we have a project carried out between 1856 and 1859 by Jean-Baptiste André Godin: Familistère. Godin starts from Fourier theories. His intention was to improve the living conditions of workers, but also "of production, trade, supply, education and recreation", all facets of the life of a modern worker. In Godin the relationship man-production is the center of his urbanistic utopia. At the end of the path we have the façade of one of the Unité d'Habitation of Le Coubousier (1947). A sort of city within a city. Designed as a true "vertical city" characterized by individual spaces included in a broader context of common areas. These architectures, hide a fallacious aspect, in the impossibility to create the "perfect" place, but reveal however, the attempt to make the space a social problem, so that these utopias remain fundamental experiences from which to develop new strategies

The second embroidery is entitled "La Carta di Atene e le 4 funzioni umane / The Athens Charter and the 4 human functions".
In the Athens Charter of 1938 the basic principles of the contemporary city are specified; it is a fundamental document of the Modern Movement and of its vision of town planning. Among the various points emerge 4 human functions: to live, work, play and move. These four basic functions are shown at the 4 corners of the tapestry: start boxes to begin the game of the goose that the embroidery reproduces. A game in which there is no winner or end, because the boxes are connected to each other seamlessly. On the boxes there are here and there, details of buildings and notes.

Of course, the following questions remain open: which citizens these projects are aimed to? What can be the lowest common denominator between individuals and their needs? In what way the dwell can remain an open (fluid) process rather than restriction and order imposed from above?

Both the drawings and the tapestries reveal some rules. On the one hand the beauty of the drawings hide the restrictions that we encounter on a daily basis, on the other hand, the "good" intentions of "social" urbanity that exemplify in the modular architectures on the first embroidery and in the "Athens Charter" of the second. 

12 December 2014- 31 January 2015 -
Tuesday to Saturday, from 15.30 to 19 or by appointment.


6 December 2014

301 East 11th St
Houston, TX 77008

GGallery presents a series of new works by Hillerbrand+Magsamen including photographs, installation and videos. With many thanks to guest 
curator Diane Barber!

A Mandala is defined as a circular design of the universe and also as a symbol expressing a person's striving for unity of the self. In an effort to heal their home and family after a death, they have created a series of large photographs of Mandalas where they organized the stuff from their home such as Barbies, Legos, books and all those crazy little plastic items into circular patterns. Their previous work was about accumulation of stuff in their home – everything from toys to lawnmowers. They cut holes in their walls, climbed up piles of stuff and surrounded themselves in masses of stuff. Now they take that chaos and create order. In addition to the Mandala photographs, Hillerbrand+Magsamen will transform the gallery windows with a video projection project comprised of multiple video projections where they are constructing walls of stuff and then pushing and breaking the walls down. A video installation piece will also be included that incorporates a table and chairs that vibrate and move in the gallery space as a viewers see a video of the family creating mandalas out of broken plates.

"Throughout their collaborative career, Hillerbrand + Magsamen have used performance and the isolation of interpersonal gestures as a vehicle through which they negotiate the dynamics of their ongoing partnership and collaboration. There has always been a Beckettian theme underlying their work. The echoing phrase “can’t go on…must go on” reverberates throughout. With the once binary paradigm in their work having since shifted to include their progeny they offer us meditations on the domestic hold that fills their lives." -Ariel Shanberg, Executive Director of the Center for Photography Woodstock

About the artists:
Hillerbrand+Magsamen are a collaborative husband and wife visual artist team comprised of Stephan Hillerbrand and Mary Magsamen. Based in Houston, Texas their interdisciplinary projects explore family identity, everyday interactions and consumer culture. They often work with their two children, pets and home. With an interest in photography and video, their highly intimate work explores relationships, family, and everyday activities, reflecting on the contradictions of suburban family life–its pleasures and discontentments, the love-hate relationships with the things people possess and the people they live with. Grounded in performance and self-portraiture, the artists use their home as a stage set and their family as the actors. Hillerbrand+Magsamen have presented their videos in international film and media festivals and their photographs and installations have been exhibited internationally in galleries and museums. They have been awarded grants from the Austin Film Society, Ohio Arts Council, Houston Arts Alliance and Houston Center for Photography. Hillerbrand+Magsamen received a 2013/14 Houston Airport Systems video commission and their videos and photographs are in numerous collections. Stephan Hillerbrand is an Associate Professor at the University of Houston and Mary Magsamen is the Curator at Aurora Picture Show.

La Bande Vidéo Residency

La Bande Vidéo: Exhibition, Production Residency, Exhibition Residency

Deadline: January 19, 2005

Melissa Landry
La Bande Vidéo
541 St-Vallier est
Quebec ((QC) G1K3P9

La Bande Vidéo is inviting artists working in media arts (or artists seeking to experiment with the video medium) to submit proposals for exhibitions, production residencies or exhibitions residencies. These programs are available to artists working in Canada and abroad. The selected projects will be included in La Bande Vidéo's 2015-2016 programming.

Located in coopérative Méduse, La Bande Vidéo is a media arts center devoted to creation and research. It takes part in the development of a contemporary video culture, offers artists production and dissemination tools, and encourages them to build a reflection on their work. The center produces and exhibits mostly experimental single-channel, installations, and animated videos.

Friday, 10 October 2014

"M" at SARIEV Contemporary

------------ > 30 October 2014

SARIEV Contemporary
40 Otets Paisiy St
4000 Plovdiv

Ute Müller and Christoph Meier

Curator Bettina Steinbrügge
12 September – 30 October, 2014

Opening: 12 September, Night of Museums and Galleries, Plovdiv.

8:00 p.m. Opening of the exhibition “M” at SARIEV Contemporary, 40 Otets Paisiy St.
8:30 p.m. Artist Talk, moderated by Bettina Steinbrügge
9:00 p.m. Presentation of the fanzine Black Pages

For the 10th anniversary edition of the Night of Museums and Galleries – Plovdiv, Sariev Contemporary is pleased to present Ute Müller and Christoph Meier’s artistic project "M", curated by Bettina Steinbrügge. An Artist Talk moderated by the curator will follow the opening. Müller and Meier will also present Black Pages – a fanzine for contemporary art, which they run with fellow artist Nick Oberthaler.

An involuntary gesture, an enigmatic doodle, a space, a place without perspective, horizontal logic, points of view, a possible path, different observation times, an illusion, reality, a narrative, passion, surprise, suspension, physicality, doubt and certainty... a human space.
(Gianluca Collica, 2012)

We don’t know what M is or is doing right now and if this even matters. We assume that it could matter. Or not. “M” will be an enigmatic riddle, an assumption about what could be if we only try hard enough to let loose. Viennese artists Christoph Meier and Ute Müller tackle aesthetic issues from a variety of angles, pursuing the everyday through thoughts and actions firmly rooted in life experiences and reality. The two artists reflect on the social meaning of structures.

Müller and Meier have collaborated on an installation conceived exclusively for the space of Sariev Gallery, which investigates the relationship between the pictorial and human space. The installation, consisting of paintings, architectural structures, drawings and sculptural references, defines a space where the viewer is immediately captured by the beauty of an installation that has its origins in the history of 20th century abstraction. Yet this is only a transitory emphasis, an instant of burning passion, which is then exposed to the artist’s critique, revealing a tendency to question that same tradition.

“We do not see real life except by its reflection,” wrote Constantin Brancusi in 1919. Nothing is static. Nothing is fixed. All forms are interchangeable and evolve, as experience evolves. Richard Serra called Brancusi’s work a „handbook of possibilities“. Serra and Brancusi enjoy a mutual fascination with stacking elements, with spreading and concentrating forms, and emphasizing weight and material. But the distinction between them is telling: where Brancusi plays with the function of the base of his sculptures, making them an integral part of it, Serra rejects the base altogether and uses instead the floor, the walls and the surrounding architecture.

A similar contrast is present in the work of Ute Müller and Christoph Meier. Müller uses painting and collage as a reflection, stripping away excess information in order to observe form and space with the utmost clarity. As Christiane Meyer-Stoll states: “The paintings challenge us to engage in an intense process of seeing, since only then do the transparency and the depth of the pictorial structure become apparent. They […] have a strong physical presence. This sharpens one’s sense of distance and closeness […] and renders the perception both more acute and intimate. The notions of intimacy and physical involvement are further developed by Ute Müller in the context of exhibitions, where the direct participation of the viewer takes center stage.“

In comparison, Meier has always favored industrial materials, such as rubber, lead or steel, which immediately distinguish themselves from organic matter. These are employed like paint, bringing out different qualities in each surface, and are eventually transformed into skins. Meier aims for configurations in space, recalibrating the architecture of the room. His sculptures dissolve the boundaries between painting, architecture and sculpture, and move towards a kind of verbal sculpture reminiscent of Richard Serra’s film „Hand Catching Lead“ (1968).

Both artists share the ambition of pushing the limits of their chosen medium, reminding us of Kurt Schwitters’ MERZ architecture and its dichotomy of visible material and invisible content. The assemblage work, perpetually unfinished, ceaselessly changes its own rules as it develops. In this way, a single interpretive key is rendered obsolete the moment it becomes available, because its object transforms, raising new questions and opening itself to new interpretations. The MERZbau presents a chance to rethink an artist’s project as performance and practice, as a social space where art, artist and the audience meet. The slices and openings perform on a microcosmic level what the avant-garde had attempted on large scale: the transformation of collective life through the radical interpenetration of the street and the interior, of individual private existence and public collective experience.

The result is a multi-perspective game on different surfaces, where the imaginary and the real are entwined, poetry and narrative are balanced by more physical, pragmatic needs, with man remaining at the heart of the matter, oscillating between illusion and reality.
Bettina Steinbrügge, Hamburg

Black Pages
BLACK PAGES is another social space, a project of Müller and Meier, and another Viennese artist, Nick Oberthaler. The three publish their own magazine, Black Pages, which will be available at artnewscafe, a busy informal venue serving as meeting place for Plovdiv’s art scene that is situated right next to the Sariev gallery.
BLACK PAGES is a monthly artist-run fanzine with a circulation of 300.
BLACK PAGES comes out in A5 format, featuring a total of 20 black & white pages.
Each month BLACK PAGES invites one artist to create it and names the issue after his/her forename.
BLACK PAGES is Austrian. 50% Austrian artists, 50% from other countries.
BLACK PAGES likes equal opportunity: 50% female artists and 50% male artists.
BLACK PAGES is named after a song by Frank Zappa and follows his compositional method.
BLACK PAGES doesn’t tell its artists what to do.
BLACK PAGES is produced very quickly.
BLACK PAGES has to be purchased before you can look at it.
BLACK PAGES likes artist collectives because there is always somebody to blame.
BLACK PAGES is like an exhibition and loves release parties.
In Plovdiv, BLACK PAGES will present 3 new issues and invite Bulgarian artists to join this very exciting project.

Christoph Meier (b. 1980) lives and works in Vienna. He studied art in Glasgow and Vienna. Since 2004 he has realized a number of solo exhibitions and participated in numerous group exhibitions in Austria, Germany, France, Italy and the USA. Meier is the recipient of the Förderpreis der Karl-Anton Wolf-Stiftung, the Prize of Gallery Klatovy / Klenová, and the Staatstipendium für Bilden de Kunst. He is a co-founder of the Kunstverein Glasgow (, Glasgow / Vienna (2008), and the fanzine Black Pages (, Vienna (2009).
Ute Müller (b. 1978, Graz) lives and works in Vienna. She studied at the Royal College of Art, London and the University of Fine Arts, Vienna. Müller has realized a number of solo and group exhibitions, and has been awarded the Viktor-Fogarassy-Preis, the Award of the City of Vienna and a number of fellowships. Since 2000 she has taken part in numerous group exhibitions in Austria, the Czech Republic, Germany, Korea, Portugal, Ireland, and the United Kingdom. In 2009, she co-founded the Black Pages fanzine ( with Christoph Meier.
Bettina Steinbrügge (b. 1970, Ostercappeln, Germany) studied Art History, English and Comparative Literature at Kassel University. Between 1998 and 2001 she worked at the Kunstverein Kassel. In 2000 she worked for the 4th Werkleitz Biennial. She has served as Artistic Director of the Halle für Kunst Lüneburg (2001-2007) and has been a member of the program team of Forum Expanded, a section of the Berlinale, since 2007. Between 2010 and 2013, Steinbrügge was the Senior Curator for Contemporary Art at the Belvedere Museum, Vienna. In 2014 she was appointed as Director of the Kunstverein in Hamburg.

The exhibition is supported by the Austrian Embassy and the National Culture Fund.

Come closer @ Yerevan Modern Art Museum

------- > 26 October 2014

Yerevan Modern Art Museum
7, Mashtots Ave., Yerevan
Tuedsay-Sunday 11 a.m.-6 p.m.

A contemporary art exhibition

Ժամանակակից Արվեստի Ցուցահանդես

Փիեռ Ջիորջիո Դե Փինթո, Շվեցարիա
Քաթրին Էշլիման, Շվեցարիա
Ժոզեթ Թարամարքա,, Շվեցարիա
Ալինա Մնացականեան, Շվեցարիա
Էդմոնդ Յաբեթեան, Ֆրանսիա
Ժենեվիեւ Փեթերման,, Շվեցարիա

Կուրատոր՝ Ալինա Մնացականեան

Երեւանի Ժամանակակից
Արվեստի Թանգարան

2014թ. Հոկտեմբերի 5-ից - 26-ը

Ցուցահանդեսի բացումը՝
Հոկտեմբերի 5-ին, ժամը 18։00-ից 22։00-ը

Փորձառական գործեր եւ պերֆորմանսներ՝
Հոկտեմբերի 10-ին, ժամը 18։00-ից 20։00-ը

Participating artists:
Catherine Aeschlimann, Switzerland
Pier Giorgio De Pinto, Switzerland
Edmond Habetian, France
Alina Mnatsakanian, Switzerland
Geneviève Petermann, Switzerland
Josette Taramarcaz, Switzerland

Curator: Alina Mnatsakanian

Exhibition dates: October 7 - 26, 2014

Opening: October 7, from 6 to 10 p.m.

Experimental works and performances:
October 10, from 6 to 8 p.m.

POPCAP'14 Cape Town

-------- > 15 October 2014

Company Gardens
Queen Victoria Street
8001 Le Cape Town
South Africa

The winners are:
Joana Choumali
Ilan Godfrey
Léonard Pongo
Anoek Steketee
Eefje Blankevoort
Patrick Willocq
Their images will be on display as large scale prints in an open air exhibition as part of the The Cape Town Month of Photography (MOP).

Venue: The Company‘s Gardens adjacent to the Iziko S.A. National Gallery, entrance on St. John's Street, Gardens

Opening: 5.30 pm

Also on view: Paul O' Leary "We Live and Die in these Towns."
Iziko National Gallery Annexe: Angela Buckland "Block
A: Thokoza Women's Hostel"

Sound track provided by: Southpaw

Auction of Fine Photographs: Icons & Images

11-17 October 2014

Swann Auction Galleries
104 E 25th St #6,
New York, NY 10010
Téléphone :+1 212-25

The auction will take place at 1:30 pm. on Friday, October 14.

The photographs will be on public exhibition at Swann Galleries Saturday, October 11, from
12 P.M. to 5 P.M.; Monday, October 13 through Thursday, October 16, from 10 A.M. to 6 P.M.; and Friday, October 17, from 10 A.M. to 12 P.M.

Early Albums, Groundbreaking Modernist Images,
Contemporary Art Featured in Swann Galleries' October 17
Auction of Fine Photographs: Icons & Images

Image: Lalla Essaydi, Converging Territories #10, oversized chromogenic print, 2003.
Estimate $9,000 to $12,000. © Lalla Essaydi

Contemporary images share the stage with 19th-century albums, modernist portfolios and classic black-and-white photographs in Swann Galleries’ auction of Fine Photographs: Icons & Images on Friday, October 17.

Contemporary art highlights range from Scandinavian artist Simen Johan’s Untitled #137, a digital c-print of a lamb from the series “Until the Kingdom Comes,” 2006 (estimate: $9,000 to $12,000) to conservationist-photographer Nick Brandt’s remarkably intimate Lion Before the Storm I, pigment print, 2006 ($18,000 to $22,000).

There is an image by Moroccan artist Lalla Essaydi, Converging Territories #10, oversized chromogenic print, 2003 ($9,000 to $12,000); as well as Richard Prince’s Upstate, Ektacolor print, 1995-99 ($15,000 to $20,000); Robert Polidori’s view of houses devastated by Hurricane Katrina, 5979 West End Boulevard, New Orleans, September, Fujicolor Crystal Archive print, 2005 ($12,000 to $18,000); and images by William Eggleston, Nan Goldin, Ernst Haas, Stephen Shore, James Welling and Joel-Peter Witkin.

Featuring works by some of those artists and others is a complete copy of the BAM [Brooklyn Academy of Music] Photography Portfolio I, with 11 photographs, 1993-2000, printed 2000 ($20,000 to $30,000). Additional portfolios and groups of photographs include Hiroshi Sugimoto’s magnificent portfolio Time Exposed, with 50 plates of his sublime studies of seascapes, 1991 ($8,000 to $12,000); a selection of 17 circa 1960s images by Ralph Eugene Meatyard, printed 1977, most showing children in rural environs ($20,000 to $30,000); Roy DeCarava, portfolio with 12 stunning, hand printed dust-grain photogravures made from his poignant photographs, including many iconic images of Harlem, 1950-79, printed 1991 ($50,000 to $75,000); Paul Caponigro’s Portfolio II, eight silver prints, 1957-70, printed 1973 ($12,000 to $18,000); and André Kertész: Photographs, Volume I, 1913-1929, 10 silver prints, printed 1973 ($30,000 to $45,000).

A presentation folio with a sequence of 10 Leni Riefenstahl photographs relating to Olympic diver Marjorie Gestring at the 1936 Berlin Olympics, with elegant images of Gestring in air mid-dive, and the young gold medalist before and after her successful dives, was signed and inscribed by Riefenstahl to Gestring and dated 1937 ($12,000 to $18,000).

There is also a suite of four photographs from Bernd and Hilla Becher’s Wassertürme [Water Towers] series, ferrotyped silver prints, circa 1970s, printed circa 1980s ($10,000 to $15,000) and iconic images by modern masters including Ansel Adams, Maragaret Bourke-White, Harry Callahan, Lewis W. Hine, Horst P. Horst, O. Winston Link and Garry Winogrand.

A presentation folio with a sequence of 10 Leni Riefenstahl photographs relating to Olympic diver Marjorie Gestring at the 1936 Berlin Olympics, with elegant images of Gestring in air mid-dive, and the young gold medalist before and after her successful dives, was signed and inscribed by Riefenstahl to Gestring and dated 1937 ($12,000 to $18,000).

There is also a suite of four photographs from Bernd and Hilla Becher’s Wassertürme [Water Towers] series, ferrotyped silver prints, circa 1970s, printed circa 1980s ($10,000 to $15,000) and iconic images by modern masters including Ansel Adams, Maragaret Bourke-White, Harry Callahan, Lewis W. Hine, Horst P. Horst, O. Winston Link and Garry Winogrand.

CALL FOR APPLICATIONS: Master's Degree - Artistic Research in Film (MA)

Netherlands Film Academy
Markenplein 1
1011 MV Amsterdam
The Netherlands

Information evenings:
10 Oct. & 14 Nov. 2014, 19:30-21:30
Applications deadline:
9 January 2015, 12:00

Still from The Glass of the Microscope (Yeasayer) by Ruben van Leer (alumnus 2013)

CALL FOR APPLICATIONS: Master's Degree - Artistic Research in Film (MA)

Are you a talented filmmaker, sound designer, scriptwriter, producer, camera man, art director, …? Or a visual artist, digital media specialist, performance artist or in any other way involved in moving images and sounds? Would you like the time, space and support to undertake your own artistic research project?

Every year, the Netherlands Film Academy in Amsterdam offers a select group of film and media makers the chance to further develop themselves and their profession in a setting that is investigative, demanding and international.

Read more about this unique two year master's course, come to one of the information evenings and how to apply for course 2015-2017 on

DATES and DEADLINES for course 2015-2017

Information evenings:
10 October & 14 November 2014 (19:30-21:30)

Applications deadline:
9 January 2015 (12:00 p.m.)

Interviews with selection committee:
25, 26 and 27 March 2015

Start of course:
September 2015

Friday, 15 August 2014

CHANCE ENCOUNTERS #25: Marco Pezzotta

CHANCE ENCOUNTERS #25 meets Marco Pezzotta.

Born in Seriate (Italy) 1985, Marco Pezzotta graduated at the Faculty of Fine Art in Milan Brera and achieved a Meisterschuler at the Kunsthochschule Weissensee in Berlin.
In 2013 he has been part of the residency program of SeMA Seoul Museum of Art in Seoul (South Korea) and in Vienna MuseumsQuartier as a guest of Quartier21. He is mostly based in Berlin.

How did you first decide that art was your path in life ?
I guess it has been something i didn’t really decide, i mean. I think one follows a million different life paths at the same time. Art is one of them for me, maybe the only one crossing all the others.
                                                               Significant  Others, Marco Pezzotta

What's your main interest as an artist ?
Oh well, i guess I am interested in an experience. In the experience I go through as I work on my research, and in the experiences someone can get from meeting a work of mine. What then makes me sad is that those can never really be shared.

 Where do you get the ideas for your work ?
It does not really start as an idea/eureka. For me the production of a work is only another a part of a daily routine. Maybe a slightly “thicker”, clearer, more concentrated moment of a day.
                                                                                 Neither or nor either, Marco Pezzotta

What do you think is the social role of art ?
To develop empathy.

What place does creativity have in education ?
I think that education is mainly about discovering, and creativity it does really mean that. We should ride over the idea that education is mostly something adults are supposed to provide to the next generation, and finally get a creative approach to our learning experience and to the experience our institutions will provide to the future us. I think it would be enough to set a doubt an every certainty, to transform education into discussion and a concept into its endless possibilities.
                                                                                Now... Marco Pezzotta

Do you think that by challenging conventional views, art can truly make a change in the public's perception ?
Of course I think so! Has always been like that, sometimes it takes a long long time before you can see any effect. But, sure.
                                                                                 Relevant for Before, Marco Pezzotta

What are your future plans and projects ?
I am happy to say that I do not have any at the moment.

Many thanks and good luck !


Take a look into libraries and book collections holding some of the rarer and often forgotten publications, which are nonetheless essential to the discourse on both sides of the spectrum. Featured this time: the library of Bookstop Sanaa Art Library in Dar es Salaam, Tanzania.
by Sarita Lydia Mamseri

The Library

Bookstop Sanaa is a newly opened art library and creative learning hub in Dar es Salaam, Tanzania. The collection aims to cover the wide spectrum of the visual arts from painting to installation to theoretical texts. A significant portion of the library focuses on art from Africa and the Diaspora to inform and stimulate local practice. The library is of primary service to art students and self-educated artists.
To encourage use of the library, we are organizing informal talks, workshops and events with our educational and cultural partners in Dar. This is to ensure that Bookstop Sanaa’s collection of books reaches and engages with its audience to strengthen the voice of contemporary art practice in Tanzania and support its development.
The library has been established in response to calls from artists, students and researchers. Access to good material on contemporary art and books that reflect Tanzania/East Africa’s own artistic history has not always been readily available. In an attempt to provide a solution to the problem, heritage educator Sarita Mamseri decided to set up a library in Tanzania’s main city of Dar es Salaam starting with her own collection of art books in London, UK. Book donation calls went out to her colleagues in the UK cultural sector. This was followed by fundraising treks in order to purchase specialist texts and then ship the books to Tanzania. The response from individuals and organisations was tremendous and enabled Bookstop Sanaa to soft launch in February 2014 with near 400 art (and related subject) books and journals.
The journey has been not without its challenges. Navigating through the legal bureaucracies of company formation and charitable status, chasing shipping agents for the release of books from customs, and physically setting up the library on a shoestring budget were just some of the obstacles to work through. Despite this, Bookstop Sanaa has been riding on a wave of momentum that culminated in our official launch at the end of May 2014. So, the journey is just beginning!
Five Books of Significance in BSS Library
Inspired: Three Decades of Tanzanian Art, 2013.
This catalogue of modern and contemporary art in Tanzania is a very valuable contribution. It documents a particularly dynamic period; one that catapulted the nation’s most famous artist thus far, George Lilanga, to the international stage. Along with artwork from some of Tanzania’s most notable artists, there are also interpretative texts and rarely seen photographs of Dar es Salaam’s historic art center Nyumba ya Sanaa in its heyday. Frequented by President Julius Nyerere and visiting heads of state, it highlighted an era when art and culture were of prime national importance.

Transition Magazines
We were gifted a great number of the literary and cultural magazine TRANSITION. Founded in Uganda by Rajat Neojy in 1961, the editions in our collection range from 1962 to 1974 and cover many of the epochal moments during Africa’s years of independence. From a visual art perspective it documents hard-to-find contemporary art by Tanzanian artists and articles written by Tanzania’s founding father Julius K. Nyerere. The front covers alone are exceptional for their stunning visuals.

This book provides informative essays on art and material culture in eastern Africa expounded by artists, scholars and writers. It provides strong evidence against the old adage of there being no art in East Africa by demonstrating a breadth of art styles and mediums and challenging the constructs of what is considered art. A highly necessary critical anthology for the region and beyond.

Street Level: A Collection of Drawings, 2012
This is a vital book for a variety of people and professions. Everybody hears about the rapid pace of development in African nations. But what is happening to the multicultural buildings in these cities? How are they being recorded for posterity? Tanzania-based artist Sarah Markes has documented many of Dar es Salaam’s buildings that reflect the city’s rich mixed history of cultural heritage, be it of Swahili, German, Asian or British influence. Detailed drawings and illustrations of these sites are of great historical significance now that many of these buildings no longer exist.

Who Knows Tomorrow, 2010
This book and magazine to accompany the National Museums in Berlin’s 2010 exhibition Who Knows Tomorrow is a literary and visual treat. The exhibition presented work that asked questions of African nations’ global positioning and weight politically, economically, socially and historically. Five internationally recognized artists of African descent displayed their work in and around a number of venues including a de-sanctified church and the National Gallery. The book contains excellent essays and articles reflecting on the artwork and issues by a range of contributors including Chimamanda Ngozi Adichie and Dambisa Moyo. The broadsheet-sized magazine contains interviews with participating artists including El Anatsui and Zarina Bhimji and is a great magazine for the occasional library user to dip into and discover contemporary art.

Sarita Lydia Mamseri is the founder and co-director of Bookstop Sanaa Art Library.

André Butzer / Christian Eisenberger

23 August 2014 — 18 September 2014

Künstlerhaus - Halle für Kunst & Medien
Burgring 2
8010 Graz

André Butzer / Christian Eisenberger

The Künstlerhaus KM–, Halle für Kunst & Medien is pleased to be able to present new paintings by the German artist André Butzer (born 1973 in Stuttgart, lives in Rangsdorf/Brandenburg) in the venue’s main exhibition space. Here Butzer’s artwork encounters the work by artist Christian Eisenberger, who is being shown in parallel. Always starting out with an intensive exploration that probes the boundaries and potentials of painting as a medium, Butzer first generated awareness with his eye-catching, gesturally expressive, and highly variegated paintings, which he himself considers to be in the style of “science fiction expressionism”. Yet while engaging in a continual and consistent process of evolution and further development, an insidious departure from the significant carrier elements (spray paint, emoticons of rather similar smileys or skulls, text material, or paint applied in especially thick strokes) of this sometimes exaggerated but very memorable language of form has emerged. Pictures followed that were created using luminous paints and showed angled and coincident motile lines and formations against a planar, monochrome grey ground. This exploration of colour has increasingly become based on stringent formal questions related to the representational function of colour in general. The two painted pieces on show in this exhibition are part of the series of so-called “N-Bilder” (N-Pictures) initiated in 2010.
All black-and-white paintings in this cycle are united by an alignment to the incalculable dimension of “N”, which is in turn derived from “NASAHEIM”, another neologism spawned by the artist. For André Butzer, this “NASAHEIM”—a constellation of letters elicited from “NASA”, The National Aeronautics and Space Administration, and “Anaheim”, the hometown of Disneyland—is a utopian place, faraway and beyond reach, comparable to a depot of endless size, where any conceivable colour is available. The picture itself keeps perishing there, only to simultaneously re-emerge again and again like a permanent trust. The actual motif is the image as a whole, connected to the beholder’s perception thereof. It follows that the paintings evince a stringent continued development within Butzer’s oeuvre, going back to the formal structures already established in his earlier works. Moreover, the “N-Bilder” reference the basic pictorial direction and the clear proportions of the picture beyond worldly geometry. Brushwork, shifts in colour, and fore- and background of the painting are all ignored, inviting the viewers to precisely discern the contrasts between chromatic verticals and horizontals that are so constituent for the pictures.
In answer to the question as to which artistic legacies he finds himself confronted with, which legacies he could possibly carry forth, and which dead ends might threaten the working process in order to then arrive at results, Butzer gives the following reply in the catalogue accompanying the exhibition: “The legacy does not rest with the artist. The legacy itself is receptive. Art has existed for three thousand years or more. Surely there is nothing that continues on. Art is a peaceful dead end, and it must remain a peaceful dead end forever, otherwise it wouldn’t be art. However, almost no one enters this dead end, that is, the dead end lets almost no one in, and for good reason.”
The Künstlerhaus KM–, Halle für Kunst & Medien is pleased to also be presenting new works by the artist Christian Eisenberger (born 1978 in Semriach, lives and works in Vienna and Semriach) in parallel. Eisenberger first attained broader recognition in the first decade of the twenty-first century thanks to his continual placement of countless painted cardboard boxes in public space. Depicted here were motifs such as social outsiders like migrants, the homeless, but also easy-to-identify great minds of global politics. The approach of working with series continues to be a formative characteristic feature of Eisenberger’s exuberant artistic practice, which he transfers to all facets of his varied interests and explorations. It is based on an unbridled experimental stance, with raw, simple gestures and a “snotty” air, that Eisenberger builds and crafts his large-scale works of installative nature, often using a wealth of materials. Explored here are classic art themes such as life, death, or vanitas motifs, yet they are usually accompanied by an aura of incompleteness, chance, and sometimes also a semblance of caustic humour owing to a revised and subjectivised sense of Dadaism.
For the exhibition at the Künstlerhaus KM–, the artist has specifically worked on a series of comparatively low-key sculptural and painterly works for which he processed the basic material of wood and the canvases used only minimally and with a very raw touch. This “leaving-it-almost-untouched” approach taken by Eisenberger has allowed him to generally succeed in thematising and underscoring the crucial and reciprocal relationship of dependency between material effect and artistic intervention so inherent to each and every work of art. Accordingly, the works compiled at the Künstlerhaus KM– and arranged in an opulent, space-encompassing installation do not help to clearly verify the origin of the wood employed—whether its shape was formed through exposure to natural influences at its source, or whether (and to what degree) it has been subjected to artistic processing by Eisenberger. Of focus here is a critical questioning of art-related genesis myths and terms of authorship—having once again topped the agenda of this artist vaunted for his bustling activity—in addition to issues related to the context dependency of perception and the pursuit of making visible the operant potentials of auratically charging objects and materials by exhibiting them in classic contemporary exhibition venues, as well as the planes of meaning inherent to each transfer of context.


16 - 18 September 2014


African Union Commission, Peace and Security Building. Photo: GIZ International Services
Alle School of Fine Arts and Design / Addis Ababa University
Addis Ababa, Ethiopia

ifa – Institute for International Cultural Relations & Alle School of Fine Arts and Design present “Future Memories”  - an international conference on art, public space and the culture of memory. At the conference “Future Memories,” specialists will debate art engaging with cultures of memory in African urban spaces.
The three-day event will engage the expertise of artists, academics, curators, historians and architects working in different African countries with a focus on art, its potential to contribute to the development of signifiers of collective cultural memory, and its various forms in contemporary urban realities. The conference aims at enabling a dialogue from different perspectives among experts, an interested public and local art institutions in Addis Ababa, the city where the African Union is based. Some of the questions addressed by “Future Memories” will be: How are different aesthetic or symbolic traditions and contextual reference points negotiated? Does artistic experience generate new forms of encounter, public culture or future memories, and if so, how?
The conference includes excursions, keynote and performance lectures, and panels with artists and curators.
Participants: Doung Anwar Jahangeer, Berhanu Ashagrie Deribew, Meskerem Assegued, Marilyn Douala Bell, Fasil Giorghis, Khwezi Gule, N’Goné Fall, Stacy Hardy, Mihret Kebede, Cynthia Kros, Premesh Lalu, Ato Malinda, Bekele Mekonnen, Patrick Mudekereza, Jimmy Ogonga, Georges Pfruender, Alya Septi, and others.
“Future Memories” is initiated and realized by ifa – Institute for International Cultural Relations and funded by the Federal Foreign Office of Germany. The conference is organized together with the Alle School of Fine Arts and Design, Addis Ababa University. Concept of the conference: Elke aus dem Moore (ifa), Berhanu Ashagrie Deribew, Marie-Hélène Gutberlet, Christina Werner
“Future Memories” is designed to lay the groundwork for the jury procedure to choose a new artwork for the African Union Peace and Security Building, which will open in 2015. The Peace and Security Building and the commissioned work of art are a donation from the Government of the Federal Republic of Germany to the African Union. They are realized with local expertise and craftsmanship in the compound of the African Union campus in Addis Ababa. The processes of selecting and producing the artwork will be planned and organized by ifa – Institute for International Cultural Relations. A jury of art and culture experts working in different countries in Africa will convene directly after the conference and announce the winning artist to the public shortly thereafter. Voting members of the jury are Berhanu Ashagrie Deribew, N’Goné Fall, Stacy Hardy, Patrick Mudekereza, and Alya Sebti. Non-voting representatives of the African Union, the German Federal Foreign Office and ifa will join as advisors. The non-voting chair of the jury is artist Olafur Eliasson.
Conference programme

Alle School of Fine Arts and Design
Addis Ababa University
Amest Killo, Hailemariam Mamo Street
Addis Ababa
in English
Free admission
The ifa (Institut für Auslandsbeziehungen – Institute for International Cultural Relations) promotes art and cultural exchange in exhibitions, dialogue and conference programs. As a competence centre for foreign cultural diplomacy, it facilitates links among civil societies, cultural practice, art, media and research. It initiates, moderates, and documents discussions on international cultural relations.

TRADE @ Castor Projects

28 August - 10 September 2014

T R A D E 
Private View - Thurs 28th August 6 - 9pm

Castor Projects
16 Little Portland Street
London W1W 8BP

Matt Blackler
Matt Calderwood
Rachael Champion
Alan Magee
Andy Wicks

Exhibition continues-
29th August - 10th September

Thurs - Sat 10 - 6pm
+ Tues 9th & Wed 10th Sept
Or by appointment

Steel, plasterboard and low-grade sheet material are often utilised as unseen supports, trading aesthetics for strength, ease of use and the ability to disguise. Whilst pebbledash in spite of being an exterior render is one that is often stigmatised and associated with uninspiring suburban design.

Trade brings together works from a group of contemporary artists whose diverse practices utilise and exploit these materials. Made for industry they have an inherent rawness and toughness which makes them demanding to handle and difficult to manipulate.

“The sculpture is already complete within the marble block, before I start my work. It is already there, I just have to chisel away the superfluous material.”
― Michelangelo

Perhaps it’s because of the challenges that such materials pose that makes them appealing for a sculptural practice. Each of the works demonstrates a high level of craft and confidence in handling. Yet these works can exist without the need to disguise the sum of their parts. There are no grand illusions here, metal remains metal and wood as wood, however what lifts these works is their form and context. Shapes interlock, geometries reveal themselves and a sense of playfulness emerges from these raw materials.

Castor Projects is a roving project space founded in 2014.
For more information