newsfromlondon201103

For a long time I've felt like in Alice in Wonderland. Lots of doors to choose from, to find a way out of the corridor in to Wonderland. Living in a situation not logically explicable or predictable.

Like the economic system, that was a disorienting neurological condition that affects human perception.

The temporary condition's side effects can be experienced as micropsia, macropsia, or size distortion of other sensory modalities, such as temperature, pressure or taste.

Naturally, the condition is untreatable and must wear itself out.

newsfromlondon201103

Public Images : advertisements are regulated by the law governing the cultural assets and landscape of wherever and in each case are the product of the judgement of the local superintendent, who has the difficult task of interpreting local sensibilities.

[Victoria Tube Station, 2011/03/23 14:05]

newsfromlondon201103

Lunch break at a local coffee shop

newsfromlondon201103

Public Images : advertisements are regulated by the law governing the cultural assets and landscape of wherever and in each case are the product of the judgement of the local superintendent, who has the difficult task of interpreting local sensibilities.

[Bethnal Green Tube Station, 2011/03/21 22:40]

newsfromlondon201103

Public Images : advertisements are regulated by the law governing the cultural assets and landscape of wherever and in each case are the product of the judgement of the local superintendent, who has the difficult task of interpreting local sensibilities.

[Tachbrook Street, 2011/03/21 18:09]

newsfromlondon201103

#26 If you're not sure it's a picture shoot it anyway. _ Carolyn Drake

newsfromlondon201103

Public Images : advertisements are regulated by the law governing the cultural assets and landscape of wherever and in each case are the product of the judgement of the local superintendent, who has the difficult task of interpreting local sensibilities.

[Oxford Street, 2011/03/21 01:16]

newsfromlondon201103

#25 Talk to strangers, let them take you to places. _ Mark Alor Powell

newsfromlisbon201103

One layer after another, in a mixture of graffiti, painterly comments, street poetry and photographs from a private life the public took up the rationale of cannibalism and made it their own. The general tonic in this free use of the sign was a blend of rage and disenchantment, as expressed in the fragments of dialogue painted on the walls. In any case, the collective authorship expressed the colorful grayness of the present historical period. [adapted from Cuauhtémoc Medina text about Tania Bruguera's work in Dominó Caníbal]

[Rua das Flores, 2011/03/18 18:33]

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I really do appreciate Cuauhtémoc Medina curatorial view, and it is not just because he is from Mexico City. Hoping for the best with Manifesta 9 (held in Limburg, Belgium, 2012)!

newsfromlisbon201103

the room was lighted by a number of small lamps

newsfromlisbon201103

Public Images : advertisements are regulated by the law governing the cultural assets and landscape of wherever and in each case are the product of the judgement of the local superintendent, who has the difficult task of interpreting local sensibilities.

[Rua da Vitória, 2011/03/13 15:17]

newsfromlisbon201103

metabolic reactions derive from an intense and widely shared enthusiasm for something, esp. one that is short-lived and without basis in the object's qualities

newsfrom...201103

Here, in alphabetical order, is the full list of artists choose by Bice Curiger to participate in the ILLUMInations exhibition, at the International Pavilion, in the 54th Venice Biennale, set for next June 4th to November 27th 2011. ILLUMInations is meant to stress the power of art in a global context.

Questions of identity and heritage have long been crucial to contemporary art and the intensity of artistic inquiry into these issues is unlikely to diminish in the near future. Art is a seedbed for experimentation with new forms of “community” and for studies in differences and affinities that will serve as models for the future.

Giorgio Andreotta Calò, Meris Angioletti, Nairy Baghramian, Yto Barrada, Elisabetta Benassi, Birdhead, Monica Bonvicini, Mohamed Bourouissa, Carol Bove, Gerard Byrne, Mariana Castillo Deball, Gianni Colombo, Martin Creed, DAS INSTITUT and Kerstin Brätsch, Guy de Cointet, Gintaras Didžiapetris, Song Dong, Trisha Donnelly, Shannon Ebner, Latífa Echakhch, Ida Ekblad, Omer Fast, Urs Fischer, Peter Fischli & David Weiss, Llyn Foulkes, Luca Francesconi, Katharina Fritsch, Cyprien Gaillard, Dani Gal, Ryan Gander, Gedewon, GELITIN, Luigi Ghirri, David Goldblatt, Jack Goldstein, Loris Gréaud, Nicholas Hlobo, Karl Holmqvist, Bruno Jakob, Norma Jeane, Rashid Johnson, Annette Kelm, Gabriel Kuri, Elad Lassry, Klara Lidén, Christian Marclay, Fabian Marti, Nathaniel Mellors, Asier Mendizabal, Haroon Mirza, Jean-Luc Mylayne, Shahryar Nashat, Navid Nuur, Romen Ondak, Nicolás Paris, Philippe Parreno, Mai-Thu Perret, Amalia Pica, Giulia Piscitelli, Sigmar Polke, Seth Price, R.H. Quaytman, Nick Relph, Pipilotti Rist, Marinella Senatore, Cindy Sherman, Dayanita Singh, Monika Sosnowska, Frances Stark, Sturtevant, Anya Titova, Rosemarie Trockel, Oscar Tuazon, James Turrell, Emily Wardill, Rebecca Warren, Corinne Wasmuht, Andro Wekua, Franz West, Jeanne (Johanna) Natalie Wintsch, and Christopher Wool.

Monika Sosnowska, Franz West, Song Dong and Oscar Tuazon would create a so called “parapavilions” to host other artists’ works.

...and guess what! no Portuguese!?! Let me say that, derived from the great and astonishing work done by the national art dealers internationally promoting their livelihood, we can see that the outcome is nowhere to be found - it is not that those have less quality and do their work, it is more that these, who should promote them, don't do. Besides, how many autochthonous curators (or even critics) have an international role, or any kind of power outside the Portuguese institutional framework? (N)One!

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Amadou & Mariam
La Realité

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The autochthonous a-list will no longer be published!!! For better or worse we will all miss you. Thanks, for anything!

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Art Funds: Art as an asset class

«The Armory Show is New York’s premier art fair, and this year art funds are making their presence known. An art fund is a privately offered investment vehicle aimed at getting significant returns for investors over five to 10 years by investing strategically in art».

Produced by Lagan Sebert
by Financial Times

newsfromphillipsdepury201103

Last evening, at Phillips de Pury, New York, the contemporary art sale resulted in $4,747,500 (against a pre-sale estimate of $4,845,000 - $6,825,000) for 24 lots (31 lots on offer). The top lot was Rudolf Stingel's superb oil on canvas Untitled (After Sam) (signed and dated "Stingel 2007 on the reverse, 38.1x52.1cm), 2007, examining and revealing the role of the artist, sold at $902,500 (estimate between $700,000-$900,000). «To Stingel, a true painting is not simply the result of moving a brush over a piece of canvas, however well, but the result of careful observation. Painting should be used as a means of observing reality in order to fashion a different reality».

Whereas, Detail of the Last Supper / Be a Somebody with a Body, an acrylic on canvas (126.4x153cm), by Andy Warhol, went for $602,500 (estimate $500,000-$700,000):

«Looking both ways, at the highest sacred art and at the lowest commercial design, and fusing them in this hallmark fashion, these late pictures seem to suggest that, for a Pop god, the meek and poor in spirit among artists are no less important than Raphael or Leonardo… The significance of Warhol's late black-and-white works based on advertising images and lettering is perhaps most apparent in these mural scale hybrids of the sacred and profane: the black-and-white images are Warhol's final subversive lexicon of street art images awaiting transposition into art gallery and museum contexts where they will expand post-Pop postmodern taste».

On the other hand, an inkjet print on canvas (edition of three, 236.2x405.8cm) settled a referential price for this kind of works by Thomas Ruff at auctions. The German photographer is well known by his very large views of buildings and passport-style portraits of emotionless friends and acquaintances, with buying prices, at the secondary market, of around $100,000. Zycles 3041 (2008) was bought for $98,500 (estimate $120,000-$180,000).

«Albert Oehlen engages directly with the history of painting. His rebellious, discordant and allusive paintings are driven by an explosive collision of line, color and form». Far exceeding its estimate $70,000-$100,000, Das Gewicht der Ladung a silkscreen, oil and spraypaint on canvas (198.8x167.3cm), from 2002, fetched $230,500 (more than double its pre-sale higher estimate). «At a time when conceptual art had rejected painting, Albert Oehlen re-engaged with the medium».

At the end, and in spite of the high results achieve at the auction by the top lots offered, while considering the estimates done by the auction house, the market showed some resilience to younger artist names, such as: the Gothic artist Banks Violette (1973), Black noise (Ampeg BA - 115) for S.P. (fiberglass, wood, epoxy, polyurethane, tinted epoxy, salt, 61x61x61cm, edition of seven, 2005), with provenance from a private Belgium collection; or by the conceptual artist Adel Abdessemed (1971), Le mythe de Sisyphe (ladder and neon, 205.1x200x7.6cm), signed, titled and dated “'ADEL ABDESSEMED ‘Le mythe de Sisyphe’ 1996 Lyon” on the ladder, 1996), fail to sale (estimate $80,000-$120,000 and $40,000-$60,000 respectively).

newsfromlisbon201103

an unprecedented laboratory for experimenting with interactivity and creating new subjective dimensions within or in reaction to geometrical art

newsfrompalaciodocorreiovelho201103

Se os leilões de arte contemporânea realizados em Londres, nas principais casas leiloeiras (Sotheby's e Christie's) durante o mês de Fevereiro vieram de certo modo comprovar que o mercado da arte internacional continua vivo - apesar de ainda permancer em observação intensiva com todos os cuidados que esta ainda necessita -, em Portugal, contudo, o último leilão de arte contemporânea, realizado pelo Pálacio do Correio Velho, em Lisboa, no passado dia 3 de Março, veio apresentar a público um país envergonhado da sua arte (coleccionismo privado, é óbvio, dado que o público é quase inexistente) e da sua pouca (95 lotes arrematados em leilão por €113,250), mas existente (valor final leilão estimado entre €671,780 e €1,118,900), capacidade financeira. Apesar da quantidade de obras (149 lotes a leilão) e nomes (Vieira da Silva, Júlio Pomar, Graça Morais, Julião Sarmento, Nadir Afonso, Nikias Skapinakis, Malangatana, Manuel Cargaleiro, Cabrita Reis, entre muitos outros) apresentados.

Dos lotes a leião, só duas peças souberam alcançar a marca das dezenas: Máquina de fazer sonhar, um óleo sobre tela concebido por Nadir (75x64cm, assinado e datado de 1946), arrematado por €20 mil euros (estimativa entre €15 mil e €25 mil); e O encontro, de Francisco Relógio (um acrílico sobre madeira, 181x138cm, assinado e datado de 1977), por €10,500 (estimado €8 mil a €12 mil). Entretanto, os restantes 93 lotes foram arrematados por valores entre €50 e €6 mil - o que representa uma média final de €1,127 se tivermos por base os preços de martelo por lote.

newsfromribatejo201103

someone's death is almost of the time an excuse for a casual social gathering.
So, let's get together!!!

"There's too much confusion
It's all an illusion
there's too much confusion"

newsfromphillipsdepury201103

“I had been playing around with silk flowers in my studio – taking them apart, pinning them on walls, making drawings with them... I had this idea of returning the flowers back to fabric. I was interested in the history of each petal. How the material had been transformed; cut, painted, sculpted, and given a flower identity.” Jim Hodges

«Rooted in painting, Jim Hodges has expanded and evolved his artistic practice to include highly complex and intricate transformations of objects. Through the utilization of silk scarves, fractured mirrors, found objects, silver chains and perhaps his most recognizable choice of media, fabric flowers, Hodges has created site-specific installations and sculptures that have come to define his ephemeral and unique approach to art-making. Exposing the innate delicacy and beauty of mundane objects, Hodges work reflects on the passage of time, compelling his audience to contemplate their own experiences of impermanence [...]

Phillips de Pury & Company brings this March 4th 31 lots to it's New York venue to coincide with the the two premier contemporary art fairs in New York: The Art Show and The Armory Show.

Auction data:
_ Auction estimate $4,845,000-$6,825,000

Jim Hodges
Once Together / Apart, 1996
Silk, plastic, wire and pins (in 66 parts)
88.9x101.6cm
Estimate $350,000-450,000
Provenance Stephen Friedman Gallery, London

newsfromanywhere201103

when | dreams | become | reality