Raul Zamudio

Shahram Entekhabi:Nothing Gold Can Stay, Other Gallery, Beijing, Sept. 1- Oct. 16, 2011

2011-09-18T20:04:00.000-04:00

Sept. 1, 2011- Oct. `6, 2011
Other Gallery, Beijing, China

				Curated by Raul Zamudio

Nothing Gold Can Stay is a solo exhibition by Iranian-born, Berlin-based artist Shahram Entekhabi. The exhibition’s title is from one of the most celebrated poems by Robert Frost. Consisting of only eight lines with that last being “nothing gold can stay,” Frost’s opus is not only stripped down to the most essential but uses gold as metaphor to lament the fall from Eden via a tree’s fecund beauty and eventual decay. But beauty is used by Frost to underscore its temporality and fleeting characteristic, and thus the poem’s subtext is that we should concerns ourselves with loftier endeavors during our brief, human existence. Shahram Entekhabi thematically uses Frost’s poem to investigate value as well as other themes but within a contemporary context. Whereas Frost alluded to nature to question society’s material pursuits, Entekhabi challenges the premium placed on oil as global commodity, shines light on cultural misunderstandings between East and West, as well as commenting on the condition of exile that the artist finds himself living as a foreigner in Berlin. The exhibition consists of painting, work-on-paper, video, and sculpture.
Raul Zamudio

How To Philosophize With A Hammer, White Box, NYC, August 11- Sept. 10, 2011

2011-09-18T19:44:00.005-04:00

How To Philosophize With A Hammer
Curated by Raul Zamudio
White Box, NYC
August 11- Sept. 10, 2011
Artists:
Isaac Aden, Luis Alonzo-Barkigia, Marcela Astorga, Marc Bijl, Karlos Carcamo, Daniel Davidson, Wim Delvoye, Adolfo Doring, Martin Ferran, Kendell Geers, Fernando Martin Godoy, Kenneth Tin-Kin Hung, Istvan Kantor, Ray Kelly, Dominic McGill, Teresa Margolles, Dennis Oppenheim, Damian Ontiveros, Ashery Oreet, Pasha Radetzki, Joaquin Segura, Celia Elsamieh Shomal, Susan Sontag, Javier Tellez, Mookie Tenebaum, Wojtek Ulrich, Abdul Vas, Ruben Verdu, Ai Weiwei, Zhou Wendou.

How to Philosophize with a Hammer is an exhibition of international artists that work in video, painting, sculpture, works-on-paper, photography, installation, and performance. The title is taken from Friedrich Nietzsche's Twilight of the Idols, or, How to Philosophize with a Hammer (1889). How to Philosophize with a Hammer followed the Gay Science (1882) in which Nietzsche pronounced that "god is dead."

After this deicide came other "deaths" in the late twentieth century including "the death of the author," "the end of history," and "the death of painting." As such, the works in the exhibition underscore the usurpation of authority but within a contemporary context. The artists address the exhibition's thematic framework in myriad ways where their philosophizing is articulated through diverse artistic genres. Some philosophers have viewed artistic practice as a form of philosophy, and the iconoclasm of these artists' works hammers against political, financial, social, and religious institutions. This iconoclasm signals the need to reinvent new modes of thinking and being while reflecting on the existential crisis that humanity finds itself marked by wars, ecological disaster, economic collapse, terrorism, and revolution. In short, it is the perfect end of summer exhibitions.

Don´t Ask What Capitalism Can Do For You, Ask What You Can Do For Capitalism, June 4- August 4, 2011, Pristine Galerie, Monterrey, Mexico

2011-06-04T15:06:00.004-04:00

Riiko Sakkinen: Don´t Ask What Capitalism Can Do For You, Ask What You Can Do For Capitalism
June 4-August 4, 2011
Curated by Raul Zamudio
Pristine Galerie
Monterrey, Mexico
http://boletin.arteven.com/h/11/pristine_galerie_04.htm

Encyclopedia of Riiko Sakkinen, 2 channel video projection,

cardboard boxes, packaging tape, paint, 2011

Wojtek Ulrich, Other Gallery, Beijing, China, May 21- June 19, 2011

2011-05-24T09:54:00.002-04:00

Curated by Raul Zamudio

What does it mean for an artist to work today in the midst of the myriad forces he or she engages and is engaged by? The topical artist, however, needs to be forewarned of the rhetorical dictates of so-called politically engaged art that jettisons aesthetics and often succumbs to didacticism. It is at this point where the ethical imperative can become dogmatic directive. Can the artist engage the aesthetic dimension all the while addressing the world with an artistic practice of resistance and affirmation? However one may find a dearth of this geist in a contemporary art world consumed by market forces, it is the sine qua non of the artist Wojtek Ulrich.

Wojtek Ulrich plays many roles demanded of his protean art including that of architect, philosopher, anthropologist, sociologist, oceanographer, and zoologist, to name just a few of the disciplinary activities outside the boundaries of conventional artistic practice. This is adamantly underscored in his recent body of work in the exhibition simply titled Wojtek Ulrich. As with his other exhibitions, upon entering this particular show one is first struck by the diversity of media and the myriad themes that the artist engages.

http://www.hiart.cn/tv/video.php?id=22
http://www.artspy.cn/html/exhibit/2/2928/view.html
http://www.artspy.cn/html/video/0/739.html
http://news.99ys.com/20110521/article--110521--65114_1.shtml
http://artlinkart.com/cn/space/exh_yr/ef0aAyrq/389buwmj

Shahram Entekhabi: A Taste of Gold, March 27- May 27, Prisitne Galerie, Monterrey, Mexico

2011-04-17T12:36:00.003-04:00

Shahram Entekhabi: A Taste of Gold
Curated by Raúl Zamudio
March 27-May 27, 2011
Pristine Galerie
Monterrey, Mexico

A Taste of Gold is a solo exhibition by Berlin-based, Iranian
artist Shahram Entekhabi. The exhibition takes its title from a
work in the exhibition titled Golden Edition (2011). The
work is a large photograph of a Muslim woman elegantly dressed
head-to-toe in Burqa and wearing boxing gloves. The traditional
Islamic orthodox covering is, however, adorned with actual gold
glitter on top of the picture’s surface.

Continuing with the artist’s exploration of Islamic culture in the
world-at-large, Entekhabi’s works in the exhibition mix humor
with a critical eye in addressing exile and xenophobia. The exhibition
brings together works-on-paper, photography, and video.

A Taste of Gold is the first solo exhibition of this Iranian artist
presented in Mexico.

Third Eye/I (II), Other Gallery Shanghai, March 17-April 17, 2011

2011-04-17T11:15:00.006-04:00

THIS EXHIBITION WAS CLOSED BY THE CHINESE CULTURE DEPARTMENT. ITS CENSOR COINCIDENTALLY OCCURRED 4 DAYS AFTER THE ARREST OF ARTIST AI WEIWEI. BELOW ARE THE REASONS GIVEN BY THE CHINESE CULTURE DEPARTMENT AS TO WHY I T WAS CLOSED?:
------

The Third Eye——Iranian Contemporary Art Exhibition

Stop Show Announcement

As in consideration of different culture identification problem in the exhibition “The Third Eye-Iranian Contemporary Art Exhibition” and the long term support on the China-Iran culture communication and friendly cooperation. Here is the suggestion by the department in charge that Other Gallery | Shanghai Space call off the exhibition, inconvenient to you and your understanding will! We will as always commit ourselves to the academic development of contemporary art and promote art activities in all nations and regional interaction.

Other Gallery
Apr.7 2011
-----

The Third Eye

Curated by Raul Zamudio
Other Gallery, Shanghai, China
March 17-April 17, 2011
Artists:
Majeed Beenteha, lives and works in New York City
Ala Dehghan, lives and works in Karaj and Tehran
Shahram Entekhabi, lives and works in Berlin
Parastou Forouhar, lives and works in Germany
Pouran Jinchi lives and works in New York City
Raha Rastifard, lives and work in Berlin and Tehran
Vahid Sharifian, lives and works in Tehran
Celia Eslamieh Shomal, lives and works in Amsterdam
Mehran Tizkar, lives and works in Berlin and Tehran

The Third Eye is an exhibition of Iranian artists that culls its title from disparate sources. It uses as curatorial framework the cinematic vernacular for the camera, known as “the third eye,” with the notion of third space articulated by geographer Edward Soja, and that of the literary critic and theorist Homhi Bhaba. As a film trope, the third eye is the camera lens that captures the world independent from the human eye; in doing so, it can reveal to us its overlooked beauty as well as exposing the social disparity.

The artists use these open-ended narratives as thematic touch stones as well as reflecting on an ever-changing world where tradition rubs up against the contemporaneous, religion with the secular, and orthodoxy with heterodoxy. The Third Eye does not claim to be representative of art being made by Iranians today, regardless whether they live within their country or abroad; rather, it serves to underscore the heterogeneous nature of an emerging contemporary artistic practice that evinces an artistic vocabulary rooted in a formal, social, and cultural crucible situated at a nexus between the past, the present, and the future.

A catalog will be published in conjunction with the exhibition with aritsts' statements, bios, full color reproductions of artworks, and an essay by the curator.

Link: http://www.artlinkart.com/en/space/exh_yr/8eeatCul

John Zieman: Time Suite Series

2011-04-17T09:56:00.003-04:00

John Zieman: Time Suite Series
Curated by Raul Zamudio
March 5 - 27, 2011
White Box
329 Broome St.
NY, NY 10004
Opening Reception: March 5, 6 - 8 PM

"TimeSuite" 2007 4:00 min, single channel, hi-definition, stereo.

"First Dream" 2008 4:00 min, single channel, hi-definition, stereo.

"TS3", 2010 3:30 min, 3-D, hi-definition, stereo.

Appearing together for the first time, these three video works share a unique mode of inquiry, blending word art and portraiture. Zieman literally projects his animated text upon the human form, then records the composite image as as sort of "layered portrait".

Texts range from social dissections, ("Something you almost said gave me hope") to meta-commentary ("I saw a story was to be written on me - with my choice - without");

terse utterances, ("Stop projecting on me"), to inner realizations, ("It all comes faster now- This is how change feels").

Texts topographically map the subject, propelling the visual portrait toward new densities of observation.

The viewer is offered a complex psychological space, suggesting inner musings, explicitly naming interpersonal tensions, and witnessing the shared human condition, where time itself becomes the ultimate metric.

Third Eye/I, White Box, NYC, December 21-2010-January 15, 2011

2011-01-07T02:10:00.006-05:00

Third-Eye/I

Curated by Raul Zamudio

in collaboration with Catinca Tabacaru

and Women’s Voices Now

White Box

329 Broome Street, New York

(212) 714-2347

December 21, 2010 - January 15, 2011

Opening Reception Friday, December 24, 4-6pm

Artists:

Anida Yoeu Al

Majeed Beenteha

Afroos Nasersharif

Celia Elslamieh Shomal

Camila Singh

Masahiro Sugaro

Third Eye/I is an exhibition of recent video work and photography. The title tropes the cinematic parlance for the camera, known as “third eye,” with the notion of third space articulated by geographer Edward Soja and theorist Homhi Bhaba. The video works are idiosyncratically installed using monitors and projectors, which envelop White Box’s entire lower floor exhibition space. The viewer walks into a house of mirrors where videos can be watched whether one looks across, down, up, or behind.

(Installment One) includes recent video works by artists from Afghanistan, Bangladesh, India, Iran and Pakistan. Certain works are currently viewable in Women's Voices Now's Women's Voices from the Muslim World: A Short-Film Festival.

(Installment Two) includes recent experimental video and photographic works by artists from Bosnia and Herzegovina, Canada, the Netherlands, and the United States.

Majeed Beenteha, Reflection 2, Red, White, Green, digital print and mirror on aluminum

20 x 24 in. each, 2009

Celia Elsamieh Shomal, Grace, single channel video with audio, 3min, 57 sec. 2010

clip: http://vimeo.com/21106939

Installation shot

installation view

The exhibition is dedicated to Jafar Panahi, Iran´s most celebrated filmmaker who is currently serving a prison sentence in Iran for supporting the opposition Green Movement during the uprisings in his country in 2010 :
http://www.guardian.co.uk/world/2010/dec/20/iran-jails-jafar-panahi-films

Sun Yao: Topographies of the Self, Other Gallery, Shanghai, December 4- January 2, 2011

2011-01-05T02:25:00.001-05:00

Sun Yao: Topographies of the Self

Curated by Raul Zamudio

Sun Yao’s paintings underscore how the world we inhabit is intrinsically connected to our psyche, his landscapes are infused with psychological and emotional force and content. His large-scale paintings rendered in his signature style monochrome are exquisitely detailed with imagery of forests, rivers, and mountains; yet at the same time, they are inscribed with hallucinatory images of faces and bodies that appear to be more archetypal than any single person. In melding landscape with the anthropomorphic, Sun Yao’s paintings poetically and powerfully remind us how geography is reflected in us and we in it, and ultimately integral to our identity and enmeshed with our sense of being.

Maxima Imoralia,SCOPE Miami, 11/30-12/5, 2010

2010-12-22T01:34:00.003-05:00

SCOPE Miami
Curated by Raul Zamudio
Artists:
Oreet Ashery
Teemu Maki
Emma McCagg
Riiko Sakkinen
Svai & Paul Stanikas
Mookie Tenembaum
Wojtek Ulrich
Ruben Verdu
Agni Zotis

Suspensions of Disbelief, Other Gallery, Shanghai, October 24- November 28, 2010

2010-11-21T12:28:00.005-05:00

Mookie Teembaum , Placebo I, c-print, 2009) [poster announcement]

L to R: Erik Yahnker, Testicle, colored pencil, (2010);

Stefano Cagol, September 11, LEDs, video, (2009)

L to R: Stefano Cagol, Stefano Cagol, September 11, LEDs, video, (2009); Wim Delvoye, Cloaca, vinyl, feces in acrylic boxes, (2001); Adolfo Doring, Blackout, gelatin silver print, (2010); Stuart Croft, Scveral Small Fires, vidieo (2003); Zhou Wendou, Untitled, measruing tape, 2009); Teemu Maki, Teemu Maki , Por trait of Emma Joenpolvi and Inka Suhonen (from the seires, How to Be a Woman?) c-print on diasec, (2006)

Teemu Maki , Portrait of Emma Joenpolvi and Inka Suhonen (from the seires, How to Be a Woman?) c-print on diasec, (2006); Eric Yahnker, Chinese Canned Corn, cans of corrn , 2010)

Matthew Weinstein, American Gothic, bronze, paiint, chrome, violin string, (2003)

Wim Delvoye, Cloaca, vinyl, feces in acrylic boxes, (2001)

Adolfo Doring, Blackout, gelatin silver print, (2010); Stuart Croft, Scveral Small Fires, vidieo (2003); Zhou Wendou, Untitled, measruing tape, 2009); Teemu Maki, Teemu Maki , Portrait of Emma Joenpolvi and Inka Suhonen (from the seires, How to Be a Woman?) c-print on diasec, (2006); Eric Yahnker, Chinese Canned Corn, cans of corrn , 2010); Antonis Donef, Untitled, ink on newspapers on canvas, 2009)

Suspensions of Disbelief

curated by Raul Zamudio

Artists:

Stefano Cagol, lives and works in Rome

Wim Delvoye, lives and works in Ghent

Antonis Donef, lives and works in Athens

Adolfo Doring, lives and works in New York

Ferran Martin, lives and works in New York

Tomas Ochoa, lives and works in Berlin and Zurich

Miguel Rodriguez Sepulveda, lives and works in Mexico City

Kiki Seror, lives and works in San Francisco

Mookie Tenembaum, lives and works in Buenos Aires

Zhou Wendou, lives and works in Beijing

Eric Yahnker, lives and works in Los Angeles

Suspensions of Disbelief is an exhibition of international artists that culls its title from the eighteenth-century Romantic poet and philosopher Samuel Taylor Coleridge. He proposed that if a writer included elements in a narrative that the reader experientially acknowledged, the ensuing empathy would suspend disbelief in a story’s content regardless of how fantastic or unreal it may be. Coleridge’s motivation may have been to underscore that his own writings, including Rime of the Ancient Mariner (1797-1798) and Kubla Khan (1797), were more than fabulist, literary works of imagination incapable of producing pathos in the reader. But real life, as the cliché goes, can be stranger than fiction.

The works in the exhibition compliment and complicate Coleridge’s thesis by teasing out the fictional in the factual and vice versa and in doing so, suspend certainty as well as disbelief.

City Without Walls, 2010 Liverpool Biennial, September 18- November 28, 2010

2010-10-28T09:05:00.002-04:00

Svai & Paul Stanikas, Allergy for the Sun
graphite on paper, sunlight lamps, mixed media installation (installation detail) 2010

Žilvinas Kempinas, Lemniscate, industrial fans, magnetic tape, dimensions variable, 2008

Laura Garbštienė. Film about an Unknown Artist (2009)

Žilvinas Landzbergas. Holy Promises, mixed media, dimensions variable, (installation detail), 2010

If Lithuania resides at the geopolitical nexus between the eastern periphery of the European Union and Belarus, Russia and beyond, then Vilnius is its cosmopolitan epicenter, whose cultural openness and diversity makes it metaphorically a ‘city without walls’. Many artists spent formative time in Vilnius, only to later contribute to artistic developments in other cities, including the Cubist Jacques Lipchitz in Paris, the abstractionist Lasar Segall in São Paulo, and the Fluxus artist George Maciunas and experimental filmmaker Jonas Mekas in New York. Although these artists achieved prominence abroad, Vilnius was generative of their artistic ideas.

Like the Lithuanian artists that preceded them, the participants in City Without Walls embody international artistic sensibilities engendered by the Lithuanian capital’s urbanity. Their work is dovetailed by formal heterogeneity, visual poetics, conceptual verve and the myriad themes they address. Laura Garbštiene, for example, presents Film about Unknown Artist (2009). Her film concerns an unknown artist who visits memorial plate dedicated to another unknown artist (artwork by Konstantinas Bogdanas) in the backyard of Vilnius Art Academy; this leads the protagonist to travel to holy places in Lithuania to do penance. S&P Stanikas’s contribution to the exhibition is Allergy to the Sun (Hannelore Kohl) (2010), a site-specific work that encompasses video and large-scale drawings whose foci revolve around the suicide of the photophobic wife of German Chancellor Helmut Kohl. Also working in installation, but with different formal strategies and narratives, is Žilvinas Landzbergas’s Holy Promises (2010). Landzbergas’s installation incorporates lightboxes and illuminated festoons, a simulated open fire, and tree trunks. Rounding out City Without Walls is Žilvinas Kempinas’s Lemniscate (2008), a large-scale kinetic sculpture consisting of two massive industrial fans whose billowing force suspends a strip of magnetic tape in midair.

City Without Walls is curated by Raúl Zamudio and Laura Rutkute with the assistance of Augustina Matuseviciute, and organised by VARTAI gallery, Vilnius.

Link to catalog, PDF format

Gordon Cheung: The Sleeper Awakes, Other Gallery, Shanghai, September 10- October 10, 2010

2010-09-23T00:13:00.001-04:00

Gordon Cheung: The Sleeper Awakes, Other Gallery, Shanghai
curated by Raul Zamudio

The Sleeper Awakes is a solo exhibition of paintings, sculptures, and animation works by London-based artist Gordon Cheung. The exhibition’s title is culled from H.G. Wells’ similarly titled science fiction story published in 1910. The plot revolves around a man named Graham who falls into a catatonic sleep in London in 1897 and awakes 203 years later.

Cheung uses Wells’ tale as narrative touchstone to address conditions of contemporary globalization. But it is not only the content of Cheung’s artworks that engage this but the artist’s formal strategies as well. In the story, Graham becomes a wealthy man through compound interest in his bank account that has accrued for over two centuries. Mega-wealth is alluded to in Cheung’s riveting 10 portrait piece titled Top Ten Billionaires, 2008 (2009). The portraits include Bill Gates, William Buffet and 8 others whose likenesses are painted on stock listings. The stock listings are an index of contemporary global economic trading and potential abuse of unregulated financial markets, but Cheung has also painted other imagery on them that symbolizes the unreal world that Graham has awoken to: the Minotaur and the dragon. Both of these mythological creatures reflect polarities in respectively representing the West and the East. They are two cosmic archetypes symbolically engaged in contemporary geopolitical rivalry between Europe/the U.S., and Asia.

There will also be exhibited a series of paintings of animals as trophies that comment on nature as commodity. H.G. Wells’ story is dystopian, and Cheung’s sculptures constituted from mirrors, florescent lights, and cast animal skulls bespeak of environmental cataclysm from technology gone amok. Rounding out the exhibition is a series of animated video works titled The Four Riders (2009). The Four Riders are analogues to the apocalyptic Four Horsemen envisioned by the Apostle John in the Book of Revelation. Like the Biblical horsemen who are divine harbingers of pestilence, death and destruction on earth’s final days, The Four Riders hint to this as well: each animation consists of a bull-riding cowboy endlessly riding in a circle as the Doors’ The End is faintly heard in the background. This iconic song was also used by Francis Ford Coppola in Apocalypse Now.

The Waste Land, White Box, NYC, July 8- August 14, 2010

2010-08-29T03:04:00.005-04:00

Rubern Verdu, Louis Vuitton Trash Bag, 2004

Liselot vwn der Heijden, Feast. Hommage à Marcel Broodthaers

ingle channel video, 3 minutes, 2004

Luis Alonzo-Barkigia, Untitled, mixed media, 2010; Jaishri Abichandani, Kali Yuga, duratans and lightbox,

Social Art Collective, Bags, 2010,
1,859 bags, one year's heroin intake by an "average" user. Each bag contain 0.1-0.2 grams of heroin.

Tony Matelli

Zhang Huan

That Obscure Object of Desire, Pristine Galerie, Monterrey, Mexico, May 24- July 24 , 2010

2010-08-27T21:06:00.000-04:00

Twilight of the Idols, Galeria Casado Santapau, Madrid, Spain, May 5- June 5, 2010

2010-08-18T03:45:00.009-04:00

Javier Tellez, Oedipus Marshal, 2006
Single channel projection

Riiko Sakkinen, Everything in the South is Third World, mix media on paper, 2007

Carlos Amorales, Manimal, single channel video animation with audio, 2005

Abdul Vas, Sir Barry Times, c-print, 2008

Gabriel de la Mora, Untitled, human hair on three sheets of paper, 2008

The Pavilion of Realism, Other Gallery/Shanghai, April 23- June 1, 2010

2010-08-09T21:21:00.003-04:00

April 23- June1, 2010
The Pavilion of Realism is an international exhibition inspired by a similarly titled exhibition organized by Realist painter Gustave Courbet. Courbet’s pavilion was a direct response to the rejection of one of his works from the 1855 Paris Universal Expo. The Pavilion of Realism updates the political tension between the Universal Expo and Courbet’s pavilion within the context of the 2010 Shanghai World Expo. Like the official French salons of the 18th and 19th centuries where art was censored because it engaged politics, countries participating in the 2010 World Expo will promote nationhood via culture and art; yet what will be displayed will likely not explore the most pressing issues affecting the global community today. In contrast and in spirit with Courbet’s oppositional exhibition, The Pavilion of Realism will present challenging art that addresses social and political problems with “realism” absent in the exhibiting pavilions of the 2010 World Expo.
	Other Gallery Shangai curated by Raul Zamudio & Maarten Bertheaux
Artist(s)	Gordon Cheung, Duan Ying Mai, Gao Lei, Christopher K. Ho, Huang Xiaopeng, Kenneth Tin-Kin Hung, Jiang Chongwu, Jin Yangping, Lin Meiya, Liu Min, Lu Lei, Ni Haifeng, Michael Yeu Tong, Sarah Tse, Wang Yishu, Sherry Wong, Zhang Hongtu

The Metamorphosis/Other Gallery, Shanghai, January-March 2010

2010-08-09T20:44:00.003-04:00


	Other Gallery (Shanghai Space) (Shanghai, China)
	Curated by Raúl Zamudio
	Artists: Carlos Amorales, Oreet Ashery, Bill Berry, Gabriel De La Mora, Cleverson De Oliveira, Erika Harrsch, Sang Woo Koh, Emma McCagg, Miguel Angel Rios, Riiko Sakkinen, Svai & Paul Stanikas, Wojtek Ulrich

The Man Who Fell To Earth/2009 Beijing 798 Biennial

2010-08-09T20:27:00.007-04:00

The Man Who Fell to Earth
Curator:Raul Zamudio

Prosthetics, facelifts, sex changes, skin lighteners, tanning booths; these are just some of the myriad corporeal reconfigurations via technology at the disposal of humans today. As such, these ontological modifications of the body only make age-old questions of the self that much more obsolete or, on the other hand, more complicated? The Man Who Fell to Earth is an exhibition that explores the mutating corporeal self and the malleability of subjectivity in a futuristic present where life is exceedingly accelerated via technology subsequently exacerbating social alienation.

The exhibition tropes Walter Tevis’ similarly titled novel The Man Who Fell to Earth. Tevis’ science fiction tale concerns an interplanetary visitor who comes to earth looking for water for his water-depleted planet. In order to deflect attention from his extraterrestrial nature, the generically named Thomas Jerome Newton disguises himself as human; and this symbiotic morphing between homo sapiens and space alien is metaphorically articulated in the exhibition in numerous ways not limited to canine/anthropomorphic graphing, butterfly/pudenda interfacing, and transgender/racial shape-shifting--
Raul Zamudio

The Man Who Fell to Earth explores the metamorphosis of race, gender, flora and fauna within the backdrop of the science fiction genre in diverse media including painting, photography, sculpture, works-on-paper, video, performance, installation, and sound works.
The Man Who Fell to Earth is a curatorial project that will be part of the Beijing 798 Biennial that will open on August 15 2009. The Beijing 798 Biennale is titled Contellations.
Artists:

41158, Spain

Carlos Amorales

Bill Berry, U.S./Thailand

Stuart Croft, UK

Gabriel de La Mora, Mexico

Joe Delappe, US

Patrick Hamilton, Chile

Yuliya Lulina,Russia

Emma McCagg, U.S.

Teemu Maki, Finland

Ferran Martin, U.S./Spain

Damien Ontiveros Ramirez, Mexico

Pasha Radetzki, Belarus

Kelly Richardson, Canada

Miguel Angel Rios,

Argentina

Riiko Sakkinen, Spain/Finland

Koh Sang woo, Korea

Teresa Serrano, Mexico

Svai & Paul Stanikas, Lithuania

Matt Tacket, US

Joaquin Segura, Mexico

Jorge Tacla, Chile

Wojtek Ulrich, Poland

Abdul Vas, Surinam

Bai Yiluo, China

**********************

Beijing 798 Biennale

Introduction
Constellations* will inaugurate the Beijing 798 Biennale, and will bring together over 70 Chinese and international artists for exhibitions in the 798 art complex in Beijing. Artworks to be exhibited include painting, sculpture, works-on-paper, photography, video, installation, performance, sound works, media art, and site-specific public art. Constellations will be exhibited in 706 exhibition space as well as other venues located in proximity.

Theme
Constellations uses as foil the notion that stars in a constellation are often vastly distant from each other, but they appear close to each other from the perspective of Earth. Nearness and farness, inside and outside, global and local are some of the tropes that Constellations uses as touchstone but situates them as relative to each other or in states of parallax. In other words, shifting demographics engendered by migration and the circulation of information foment heterogeneous, cross-cultural polyphonic articulations that make binary rubrics, such as those previously mentioned, limited. Beijing is ideal for this unique biennial in that it is a megalopolis located between the future and the past in a confluence of the pre-modern, modern and postmodern which, in turn, reconfigures globalization as more complicated and multidimensional than how it manifests in other areas of the world. Some of the exhibiting foreign artists, for example, live in Beijing and the artworks made there absorb their locality yet are concomitantly refracted through peripatetic biographies thus creating a more fluid exchange between artistic practices within and outside of Beijing. Apart from non-Chinese artists who work and live in Beijing, other invited foreign artists will be involved in site-specific projects or will present works made outside of China yet modified via their interfacing with wholly different contexts. On the other hand, many of the native Beijing artists that will exhibit have not only traveled extensively outside of China for exhibitions or residencies, but the work selected or made specifically for Constellations will also foreground the global nature of their work all the while maintaining the specificity of their geo-cultural location. Ultimately, Constellations raises more questions than it proposes to answer, particularly in a city where cultural tectonics on an international scale perpetually shift and reshape the local social landscape in altogether unimaginable ways.

Structure
The artistic director and the five curators will select artists to include in both the main venue and auxiliary exhibition spaces. The curators will individually approach their selections as both independent projects that are linked to the biennale thus creating a coherent and unified thematic exhibition. For example, one curator will present a project consisting of visual and sound artists entitled The Man Who Fell to Earth. While this presentation can be appreciated autonomously from the biennale, it weaves itself into Constellations via its thematic as well as its structural nature in which artworks will be simultaneously exhibited in both 706 and other venues. In one sense, the biennial’s exhibition design and structure is meshed with its thematic concept, and reflects well the notion of a constellation; that is, where artworks, individual exhibitions and their attendant curatorial frameworks are vastly different from each other yet innately dialogical though appearing clustered depending on perspective from within Beijing and without.

Publication
The publication that will accompany Constellations will deviate from the standard format of exhibition catalog. Instead, the biennial publication will appear as a special issue of the Beijing magazine titled Art Map, and will be bilingual in Mandarin and English. The catalog will include curators’ essays, artist pages and bios and other textual and pictorial inserts as well as a CD with sound works. In using this mode of information dissemination, Constellations seeks to extend itself beyond standard distribution systems of libraries and bookstores. In formatting the catalog as a magazine, the biennial publication has broader accessibility by ostensibly infiltrating commercial venues including newsstands located in train stations, bus depots, airports, as well as hotel lobbies, restaurants, tourist kiosks, and so forth.

Venues:
Main exhibition space:
706

Auxiliary spaces:
Asia Art Contemporary
BTAP (Beijing Tokyo Arts Project)
Continua Gallery, Beijing
Iberia Art Center, Beijing
Michael Schulz Gallery, Beijing
Platform China
SZ Art Space
T-Space Gallery

Curatorial Team
ArtisticDirector:
Zhu Qi, China

Curators:
Marc Hungerbuhler, U.S./Switzerland
Director, The Artist Network, Beijing/New York
http://www.theartistnetwork.org/

Alexandra Lowenstein, U.S./Germany

Nicoykatiushka, Chile
Independent curators and artists

Martin Wehmer, Germany
Independent curator and artist

Raúl Zamudio, U.S./Mexico
New York-based independent curator and art critic
http://www.raulzamudio.blogspot.com/
Artist list and other information to follow.

Link to Beijing 798 Biennale:

http://www.beijing798biennale.com.cn

Link to catalog essay for The Man Who Fell to Earth:

http://docs.google.com/View?id=dgvtxb3s_9hqx36vff

*CONSTELLATIONS was solely titled and conceptualized by Raul Zamudio

Eternal Recurrence

2009-03-29T11:27:00.005-04:00

Eternal Recurrence: The Art of Lucero Gonzalez Jameson and Claudia Doring Baez
Chelsea Art Museum, NY, NY, April 9 - May 9, 2009

What, if some day or night a demon were to steal after you into your loneliest loneliness and say to you: 'This life as you now live it and have lived it, you will have to live once more and innumerable times more' ... Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: 'You are a god and never have I heard anything more divine.’—Friedrich Nietzsche

Eternal Recurrence an exhibtion of Lucero Gonzalez Jameson and Claudia Doring Baez, two artists from different generations whose works poetically vacillate from the present to the past. Both artists are related to important Mexican historical figures: one is Manuel Gonzalez (1833-1893), a President of Mexico and a liberal; and the other Miguel Miramón (1831-1867), an interim President of Mexico, a general, and a conservative; the latter was one of two persons executed with Maximilian I, Emperor of Mexico and immortalized in Edouard Manet’s The Execution of Emperor Maximilian (1868-69).

Lucero's contribution to the exhibition consists of sculptures, a video, and paintings and she introduces her works in Eternal Recurrence via her rendition of Manet’s iconic painting. Her other canvases also trope history in that they are informed by canonical artists such as Picasso and Matisse, yet her paintings are of more personal subject matter and articulated in her distinctly abstract and expressive style. Claudia Doring Baez, on the other hand, approaches history almost as if it is fiction: her participation in Eternal Recurrence explores a postmodern spin on portraiture in which the models she depicts are based on real individuals, though the resulting works are titled vis-à-vis their professional occupation: the filmmaker, the librarian, the art dealer and so forth. Her strategy is to capture the quintessence of a maker of films, for example, so that the painting embodies a character or even an archetype rather than a specific person. She prefaces her paintings and sculptures in Eternal Recurrence with a series of portraits titled The President of Mexico, which is based on a full-length portrait of Manuel Gonzalez housed in Mexico City’s Chapultepec Castle and part of Mexico’s cultural patrimony.

http://chelseaartmuseum.org/exhibits/2009/eternalrecurrence/index.html

What is to Be Done?: Preview '09

2008-11-20T09:35:00.005-05:00

What is to Be Done?: Preview '09/5 Curators & 5 Gallerists

Co-curated: Raul Zamudio

White Box, NY, NY

December 13, 2008 -January 11, 2009

for more info.: www.whiteboxny.org

Gabriel De La Mora, Self-portrait as Dog, artist own hair on paper, 2008

What is on the horizon for art in 2009, a potentially portentous year that will be coda to a decade of art market frenzy which screeched to a halt by the sub-prime mektdown and subsequent global repercussions? Trends and hype have given way to discourse, and as was cogently phrased in the Art Newspaper: "What is the silver lining in all this cloudiness? Perhaps a return to the importance of museums, critics and alternative spaces for validation and the introduction of new art." 1

The introduction of new art is intrinsic to WHITE BOX’S mission statement and visionary program which did not need kick-starting by economic crisis, and most recently embodied in its closing year exhibition titled TALENT PReVIEW '09. The exhibition is oriented around the discerning eye of the curator and the acumen of the young dealer, which will purview what lies ahead in the year to come. 5 curators and 5 galleries will each select 5 artists constituting an exhibition of 50 artists that work in myriad media including painting, photography, works-on-paper, video, sculpture, and installation.

The curators and the galleries are as diverse in their approach as the artists selected, and TALENT PReVIEW '09 will prove to be full of surprises in an altogether different art world in which ideas and integrity trump market-driven machinations despoiling artwork as commodity object.

1 Josh Baer, The Art Newspaper, 2008

Real Fiction

2008-09-28T11:03:00.024-04:00

Jaishri Abichandani, Kaliyug Now, lighbox, 2008

Sarawut Chutiwongpeti, Untitled, c-print, 2007

Bill Berry, Master Monkey, single-channel video with sound, 3' 20 '' [excerpt], 2008

Real Fiction

Co-Curated: Raul Zamudio, Director of Exhibitions, White Box, for Asian Contemporary Art Fair Pier 92, NY, NY November 6-10

Real Fiction is an exhibition that weaves together numerous narrative strands into its curatorial framework: one is a direct reference to the English release of the similarly titled film by Korean filmmaker Kim Ki-duk. The film, which many consider to be Kim’s most avant-garde work, was shot in real-time and in one take and used low quality video cameras to achieve an “impure” cinematic aesthetic.

Real Fiction explores the two ostensible poles of Kim’s work, that is, narrative and documentary, within the context of pan-Asian artistic practice that interrogates a variety of dichotomies including east/west, native/foreigner, as well as more personal configurations that are no less political found in class, gender, and sexual orientation.

Real Fiction will present work that underscores these dichotomies as fictional; for a more realistic analysis of these presumed antithetical rubrics reveal that through globalization, for example, the east is never monolithically the east nor west the west, nor is the native purely autochthonous, nor the foreigner completely alien. Even the title of the exhibition itself rubs up against notions of privilege. Since the title of Real Fiction is first conveyed in Korean rather than English, it attempts to undermine hierarchy in a show of Asians curated by a non-Asian; thus the title’s auto-deconstruction begins to delineate the curatorial parameters from which the works will be framed.

Finally, is the presentation that reflects on the problematic nature of the art fair. Most art fair booths are commercial, though the art fair often allays this with exhibitions mounted by independent curators or museums that often claim objectivity by positioning their participation as outside of the market and its machinations. Real Fiction will be part of the 2008 Asian Contemporary Art Fair; yet because its approach is thematic as well being mounted in museum-quality fashion in a booth within the fair by a non-profit institution, it blurs the distinction between the art fair and the museum where the former is presumed to be market-driven while the other claims to be free from the strictures of commerce.

Artists include: Jaishri Abichandani, India/New York; Bill Berry, Thailand; Sarawut Chutiwongpeti, Thailand; Shin-il Kim, Korea/New York; Jin Shiu, Korea; Sang-jun Yi, Korea

Garden of Delights

2008-06-03T14:06:00.019-04:00

Dan Perrone, The Jungle, c-print, 2006

Garden of Delights & Yeosu International Art Festival August 30- September 20 various venues, Yeosu, South Korea Artistic Director & Curator: Raúl Zamudio

Co-Curator: Sook-Jeen Oh

Co-Curator of Film and Video: Wilfried Agrecola de Cologne

Co-Curator of Sound Art: M.A.D./Murderous Audio Dynamite

Garden of Delights is an international exhibition that will take place in the city of Yeosu, South Korea and is part of the 2008 Yeosu International Art Festival. The festival will consist of the international exhibition, a program of video and film, a one day event of public audio works played from a car equipped with bullhorn speaker system that will make its was around the city, an outdoor sculpture park, performances, and an exhibition by local Yeosu artists. Garden of Delights will present over 50 artists from around the world including artists from greater South Korea as well as from the festival’s host city. The title of the exhibition is a reference to the famous Hieronymous Bosch tryptich and a film by the avant-garde filmaker Stan Brakhage. The title and scope of the exhibition, however, will align itself with the theme of the upcoming 2012 Yeosu International Exposition. But whereas the International Exposition articulates Yeosu as a paradigmatic urban locus symbiotic with surrounding geography and the sea, Garden of Delights equally takes a similar view, albeit existentially, of the necessary recropicity between nature and contemporary society and the ultimate dystopia resulting from the negation of this relationship. The artists will approach the exhibition’s curatorial framework in a diversity of media including painting, photography, sculpture, video, installation, sound works, and works-on-paper.

Link: http://www.yeosuartfestival.blogspot.com/

Oh Chi Gyun: Defining Landscape

2008-05-12T10:57:00.007-04:00

Press Release

OH CHI GYUN: Defining Landscape

Curated by Raúl Zamudio May 29 – July 12, 2008

Opening reception: May 29, 2008, 6 to 8 pm

“To Western observers, Oh poses a different challenge, asking implicitly why—if we consider the innovations of the Impressionists a formal breakthrough of lasting significance—we are so reluctant to see those techniques applied methodically by a serious painter today.” – Richard Vine, from Second Sight: Oh Chi Gyun’s Mental Optics.

The Chelsea Art Museum, Home of the Miotte Foundation, is pleased to present a survey exhibition of the work of Korean artist Oh Chi Gyun. Oh’s work represents a uniquely rare treat for New York City museum visitors, and in particular for those who make Chelsea their regular art destination. Oh’s work stands distinctly apart from the phenomenon of contemporary art desperately shouting for attention.

To the contrary, Oh Chi Gyun offers viewers moments of quiet contemplation and a respite from the hoopla of the art world in general, replacing it with quiet reflection. Once in the presence of Oh’s paintings, the viewer inhabits cities, countryside landscapes, houses, roads, imagined and real; those apparently familiar aspects that conform and shape the world in which we live. In Oh’s world of images and image-making, viewers sense afresh how seasons change and influence our surroundings and our moods; from winter with its blue white icy snow, to the humid wet of spring’s soft rain, to a sunny summery feeling where branches, leaves, grass and flowers are budding, to the inviting warmth of nocturnal scenes with lit-up inviting indoor spaces.

“At first sight, Oh’s paintings come off as a kind of last man standing. For his works recall not only the variegated surfaces of Anselm Kiefer and a métier reminiscent of the immediate past, but this anachronism is a ruse that conceals complex undertakings that make the fruits of his artistic strategies as current as ever. Working in numerous genres though his mainstay is landscape, Oh’s depiction of the world is both direct as it is elusive. His subject matter includes the city, the country, flora and fauna as well as sunsets; yet, he filters his imagery through a distinct, seemingly transparent style that nonetheless remains fresh and new. Oh’s painterly modus operandi is a kind of telescoping of art history into the present. In the same way that Lisa Yuskavage cites Mel Ramos in her nudes and John Currin absorbs sixteenth-century Mannerist tendencies, for example, Oh reworks late nineteenth-century French academic painting through a deft formalism where mimesis and metonymy play dialogical roles. One the one hand, Oh’s painting is permeated with the tactility of a text-book Impressionist with a postmodern twist, but he teases us with these formal decoys for his pictures are corporeal and infused with dense surfaces that seem to sheath what lay within their pictorial space.” – Raúl Zamudio, from Oh Chi-Gyun: Life Defining Art Defining Landscape. The Chelsea Art Museum

A catalog will published in conjunction with the exhibtion with essays by the curator, author and NY Times writer Phoebe Hoban, and Art in America managing editor Richard Vine.

Chelsea Art Museum

556 West 22nd Street (at Eleventh Avenue) http://www.chelseaartmuseum.org/

New York, NY 10011

Tue-Sat 11am-6pm, Thurs 11am-8pm

SPECTACULAR

2008-04-08T06:54:00.006-04:00

SPECTACULAR
MACO-MEXICO EDS GALERIA SECCION GALERIAS
Curador invitado: Raul Zamudio Taylor, NY, USA
23-27 Abril 23-27 April, 2008
Centro Banamex, Av. Conscripto 311,
Lomas de Sotelo, Mexico, D.F.
http://www.arte-mexico.com/eds/
http://www.femaco.com/

Curador Curator : Raul Zamudio-Taylor (New York, NY, USA) EDS GALERIA is pleased to exhibit its artists as a group show titled Spectacular for the FEMACO international art fair. The presentation is co-organized by the New York-based curator and art critic Raúl Zamudio-Taylor, and he has curated the EDS GALERIA booth as a museum or gallery exhibition than the typical art fair stand. The presentation’s title comes from a work by the same name by Emilio Chapela Perez, and Zamudio-Taylor has opted to use it as curatorial foil from which to weave the other works by the gallery’s other artists. Chapela’s work’s full title is Spectacular (but empty) (2008), and for Zamudio-Taylor, it is an ironic allusion to Guy Debord’s important situationist book titled the Society of the Spectacle published in 1967. Artists exhibited: Plinio Avila, Andres Carretero, Emilio Chapela Perez, Jose Alfredo Elias Dabdoub, Ramses Olaya, Marcos Ramirez Erre

Spectacular Redux, consist of an off-site show at the EDS GALERIA that will include international artists. List TBA.

Emilio Chapela Perez, Spectacular.... But Empty. 2008, paint on wall

Jose Antonio Elias Dabdoub, The True Artist, 2004, ink on paper

Link to Jose Antonio Elias Dabdoub video, 400 Frames, 2002, animation

http://www.josealfredoeliasdabdoub.com/video2.html

Rikko Sakkinen, Anti-Police Rocket Launcher, 2007, enamel color on plastic tube and skyrockets
Home-made rocket launchers and low explosive pyrotechnic devices are used by rioters against the riot control police. Similar model to this was used in Barcelona in 2006.

Art Haus

2007-12-29T01:51:00.000-05:00

Artistic Directors: Juan Puntes Ethan Cohen

Curators: Raul Zamudio, Renee Vara, Eric Shiner, Blanca de la Torre, Yulia Tikhonova, Louky Keijsers

ArtHaus, by naming itself The Unfair 07 and showcasing an exciting range of U.S. and world-renowned mid-career and emerging contemporary artists, offered collectors and curators a welcome respite amidst the frenzied and unwieldy amount of fairs, parties and events. By contrast ArtHaus provided a truly alternative and intimate setting for art aficionados wrangling with the ‘unfairness’ of this year’s 23 art fairs, all spinning their wheels in conjunction with ArtBasel the prime Miami Art Fair.

Within walking distance from ArtBasel, just off Lincoln Road at 1616 Drexel Avenue, Miami Beach, ArtHaus displayed 55 artists starting with the outdoors where an installation by the Bruce High Quality Foundation’s group effort presented a “combination coin toss and miniature golf operation in the mansion's very formal backyard pool. It's all a very funny and imaginative take on the history of a wilder body of water located somewhat further north, Arthur Kill.” See http://jameswagner.com/mt_archives/006786.html
From downstairs to upstairs, the sprawling spaces at ArtHaus contained works ranging from Dennis Oppenheim, Christoph Draeger, AES+F, Kallima, Cui Fei, Tokyoko, Tania Candiani, Riiko Sakkinen, Cleverson and others, offered art buyers a diverse and tempting collecting paradise.

Throughout all the rooms and gardens of ArtHaus including kitchen and bathrooms, a great many more discoveries awaited the adventuresome visitor. The selection was handpicked by a distinguished group of curators from various different cultural perspectives and backgrounds making for a fascinating mix of aesthetics and values.

SCUM

2007-08-10T10:16:00.001-04:00

SCUM

Curated by Raul Zamudio

October 2-31, 2007

THE ANNEX

601 W. 26th St., 14th flr.

NY, NY

Opening October 5, 6:00-9:00 pm

THE ANNEX is pleased to present SCUM, a solo show by Polish, New York-based artist Wojtek Ulrich. The exhibition consists of a three-channel film projection, a video sculpture, and a series of large-format digital photographs. The three-channel film, titled Scumdance, was shot in a cavernous underground complex called Der Riese located in Poland’s Sowie Mountains. The construction of the massive tunnels began a couple of years before World War II, but it was with the Nazi invasion of Poland that Der Riese acquired its sinister infamy where thousands of prisoners met their horrific deaths. This atrocious, historical backdrop becomes an apt setting for Ulrich’s 18 minute, cinematic tour de force projected on three, nine foot screens accompanied by a mesmerizing soundtrack. Along with Scumdance will be exhibited a video sculpture consisting of 48 monitors in the shape of a crucifix hung from the cieling. The monitors are connected to an antenna that receives television programs from around the world. The visual, audio, linguistic and cultural cacophony created from simultaneous transmission include Al-Jeezera, pornography, Disney Channel, religious channels of all denominations, HAMA Television, ESPN, BBC, Televisa, NRK ad infinitum. SCUM is an exhibition that is both primal and of the moment: one work bespeaks of man’s inhumanity and existential condition within a filmic setting that is concomitantly futuristic and archetypal, while the other work resides somewhere between Baudrillard’s “ecstasy of communication” and the Tower of Babel. A catalog will accompany the exhibtion with an essay by the curator.

Link to SCUM website: http://www.scuminstallation.com/

Theater of Cruelty

2007-05-20T13:28:00.002-04:00

(Artaud as Marat in Abel Gance, Napoleon, 1927)

“Without an element of cruelty at the root of every spectacle, the theater is not possible. In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds” (Antonin Artaud, Theater and its Double)

Theater of Cruelty
Curated by Raúl Zamudio
White Box
525 W. 26th St. NY, NY

Exhibition Dates: July 24-August 11, 2007

Panel Discussion, Thursday, August 9, 6:30 – 8:00pm
Followed by a Reception Thursday, August 9, 8:00 – 9:30pm

The above quote is culled from Antonin Artaud's writings whose reference to the theater of cruelty is often misconstrued as synonymous with sadism. There is no doubt that Artaud's framework for a new, revolutionary theater carried with it a poetics of transgression; yet, his unique aesthetic approach to the stage with its subtext of violence was neither gratuitous nor for shock value. Rather, what he sought to attack was the inertia of a theater that expressed a lifeless art to a submissive audience and coupled together, became a complacent pairing that inadvertently supported the status quo.

Analogously, contemporary art and its public ostensibly seem to be suffering from their own particular strains of political and social indifference. This acquiescence is one of the many points of contention that the exhibition entitled Theater of Cruelty rubs up against. The artists in the exhibition engage contemporary art’s conventionality in the same spirit that Artaud vilified the theatre’s artistic conservatism; thus the intent of the Theater of Cruelty is to jolt us from our conformity in order that we may think more critically about the world we live in. The artists achieve this through diverse themes formally articulated via a plethora of media including video, painting, photography, sculpture, works-on-paper, audio-work, performance, and installation. Artists: Carlos Amorales, Oreet Ashery, Kader Attia, Andisheh Avini, Jota Castro, Stuart Croft, Martin Durazo, Andrea Frank, Marcos Lopez, Teresa Margolles, Daniel Joseph Martínez, Ferran Martin, Teemu Mäki, Susanna Delahante Matienzo,S&P Stanikas, Kiki Seror, Javier Téllez, Wojtek Ulrich, Vuk Vidor, Roberto Visani, Sislej Xhafa.

A panel discussion entitled, Theater of Cruelty: Towards an Aesthetics of Transgression, will precede the opening and participants are:

Moderator:
Raúl Zamudio, Independent curator, critic, scholar, New York

Panelists:
Martin Durazo, Artist, Los Angeles
Claudia Huiza, Filmmaker, scholar, social actvist, radio-host, Los Angeles
Andrzej Jachimczyk, European Graduate School, Sociology
Kiki Seror, Artist, Paris/New York
Roberto Visani, John Jay College, Art, Music, Philosophy

Theater of Cruelty is part of: On The Edge:Transgression and The Dangerous Other. An Interdisciplinary Conference at John Jay College of Criminal Justice, 899 Tenth Avenue, New York, NY and Graduate Center (CUNY) at 365 5th Ave, New York, NYAugust 9 and 10, 2007 . For more information on the confernce go: http://www.jjay.cuny.edu/ontheedge/

NY TIMES review of exhibition:
http://www.nytimes.com/2007/08/03/arts/design/03wart.html?_r=2&adxnnl=1&oref=login&adxnnlx=1186146204-iYwFS6wU/5KYoowsLHwBmQ

Left to right: Vuk Vidor, Teemu Maki, Stuart Croft, Martin Durazo (in cublicle behind black curtains) Andisheh Avini, Jota Castro, Roberto Visani, Jota Castro,
Teresa Margolles (audio piece in black cubicle), Kiki Seror (large flat screen on floor)
Left to right: Sislej Xhafa, Ferran Martin, Vuk Vidor, Teemu Maki, Stuart Croft, Martin Durazo (in cubicle behind black curtains)
-----------
Link to Kiki Seror's video, Phantom Fuck, exhibited in Theater of Cruelty
http://www.smartvideoserver.org/wm_player.php?moId=1486&meId=873

Avant-Garde Dating

2007-04-20T13:47:00.000-04:00

AVANT-GARDE DATING

AVANT-GARDE DATING is an experimental dating service investigating issues associated with contemporary relationships.Right now, AVANT-GARDE DATING is selecting individuals to be matched in carefully chosen couples. The most innovative applicants among these couples will receive an exhibition in Berlin, Germany during the Art Forum (Sep-Oct) 2007. To apply for the AVANT-GARDE DATING experience, you must request what sort of person you would like to meet. In your application, you should explain how this new relationship will explore the conventions of monogamous love, challenge the idea of artistic collaboration and/or explore one of the other numerous stereotypes of human pairing. Based on this information, the Dating Board will match you with another artist somewhere in the world. Out of everyone matched, three outstanding “couples” will each be rewarded a 1-week exhibition in Berlin to further explore the concept of human partnering. During their stay in Berlin, the couple will be living together in the exhibition space.Tanja Ostojic, Raul Zamudio and Karen D. Peters make up the Dating Board matching and selecting all artists in collaboration with Wooloo Productions. For application and more info. about Wooloo Productions and projects go here: http://www.avantgardedating.com/

Curated By:

The Dating Board

All artists are matched by the Board in collaboration with Wooloo Productions:

Tanja Ostojic
Tanja Ostojic has performed and presented work at the Venice Biennale, the PS1 (New York), the ICA (London), as well as at numerous other venues. http://www.kultur.at/howl/tanja/

Raul Zamudio
Raul Zamudio has curated over 40 international exhibitions and his writings on contemporary art have been translated into several languages.

Karen D. Peters
Karen D. Peters is an independent curator. She works as an cultural consultant for a wide range of institutions in New York City.

The Sweet Hereafter

2007-03-25T10:31:00.000-04:00

The Sweet Hereafter: Recent Video and Sculpture by Gosia Koscielak

Curated by Raul Zamudio

THE LAB

NY, NY July 2-12, 2007

The Sweet Hereafter is a one-person exhibition by the Polish multimedia artist Gosia Koscielak. While the title is a reference to the film by Atom Egoyan as well as a euphemism for death, The Sweet Hereafter is the antithesis to fatalism and Freudian Thanatos or the death-instinct. It’s more akin to contemporary memento mori and underscores the imperative human need to construct meaning in an ostensibly meaningless world. It uses a ubiquitous, sugar-coated colloquialism for death as foil to rethink the knowledge of impending mortality as opening up the possibility for redemption in an existential universe of uncertainty.

Gosia Koscielak poetically articulates these concerns as well as others via her digital-based new media sculpture that is a mixture of visual, olfactory, and audio elements. The Sweet Hereafter consists of a large video projection of a serene seascape that serves as metaphor for the tenacity of the human spirit to survive, prevail and supersede under any condition. In aesthetic, philosophical and sensorial dialogue with this piece is another video work projected from the ceiling onto a pile of salt on the floor that engulfs the exhibition space with smells, sounds and visuals. Rounding out the exhibition is a series of electronic LED sculptures mounted on the wall based on texts by the philosopher Paul Feyerabend. A publication will accompany the exhibition which includes works by the artist and an essay by the curator A publication will accompany the exhibition which includes works by the artist and an essay by the curator.

THE LAB (for installation + performance art) is a New York based, converted storefront turned fishbowl producing 30+ fast paced performance art and installation exhibitions annually. Aimed at furious midtown foot traffic, THE LAB’s programming is designed to confront modern relationships between art and audience and seeks to force interaction between high energy, “outerspective” exhibitions and nearly 25,000 daily passersby. It is THE LAB’s goal to reach out through the glass and capture, fascinate, amuse, bemuse, soothe, shake and satisfy any and all who pass within eye or ear shot of the corner of 47th and Lexington. For more information, call 212-339-2092, or email rogersmitharts@rogersmith.com.

THE GALLERY IS LOCATED ON THE CORNER OF 47TH STREET AND LEXINGTON AVENUEALL EXHBITIONS ARE ON VIEW 24/7

For more information regarding The Roger Smith Hotel, The Lab, or Lily’s, to speak with a representative, or to schedule a tour of the space, please contact Danielle Simone, dsimone@pitchcontrolpr.com, or Sarah Cirkiel, scirkiel@pitchcontrolpr.com, Pitch Control Public Relations, 212.475.4919.

Video documentation and narration by Matt Semler, Director of The LAB:

http://www.rogersmithnews.com/flash/gosia.htm

In the Future the Curator Will Point and Say, "That Group of Things Over There is an Art Exhibition"

2007-02-08T01:05:00.000-05:00

In the Future the Curator Will Point and Say, "That Group of Things
Over There is an Art Exhibition."

Curated by Raul Zamudio

Exhibition title dovetails on Duchamp's post-readymade aphorism that in the future the artist will point at an object and say, "that is a work of art." More info. to come.

SURGE

2007-02-08T00:40:00.000-05:00

Ferran Martin, Untitled, performance documentaion, 2004

Alejandro Diaz, El Mariachi does New York City, performance, 2005
Riiko Sakkinen, China Handgrenade, watercolor, ink on paper, 2007

Li Wei, Li Wei Falls into the Palais de Tokyo, Paris, c-print 2004

SURGE
April 28 – May 20, 2007
Beijing Studio 1 (BS1), CIMG
Interactive Media Group, 798 Art District
Beijing, China

Surge is an exhibition that brings together some of the most interesting artists from diverse areas of the world. One of the many allusions in the exhibition’s title is movement, as in the “sea surged to shore.” But the inadvertent implication of this definition is unilateral flow. Surge’s movement, however, is multidirectional for it is rhizomatic and this malleable, amorphous quality makes it difficult to pinpoint its center from its periphery, its inside from its outside. While the subversion of hierarchies such as center/periphery and inside/outside is intrinsic to Surge, the paper tiger that the exhibition also reckons with is the ubiquitous twentieth-first century global/local equation. Surge approaches this framework by presenting an exhibition in China consisting of international participants including artists from the host country. Here, one can detect the global component of the exhibition, although it seems that the global enters from the outside to the inside to dialogue with local Chinese artists and contexts. In order to undermine this asymmetrical construct where the global appears from without and the local from within, foreign artists will not only make site-specific works in China but their subject matter is not limited to their places of origin nor is it representative of specific geo-cultural regions, nations, or countries. Artists include Jeanette Doyle, Alejandro Diaz, Katja Loher, Przemo Wojciechowski, Ferran Martin, Li Wei, Huang Yan, Riiko Sakkinen, Fexue Lee, Zhang Tiemei, Henry Seng, Karin Suter, Natalie Bewernitz and Marek Goldowski, Jeff Gompertz, Wolfgang Stiller.

Curated and organized by Marc Hungerbuhler,director and founder of the:artist:network, new york, and Raul Zamudio, curator-at-large, the:artist:network, new york

Link to exhibition essay in PDF format: http://theartistnetwork.org/pdf/surge_text.pdf

Art After Dark and After in a Limo

2007-01-29T14:06:00.000-05:00

Art After Dark and After with Enrique Jezek
Art After Dark And After with Chris Sauter

Art After Dark And After with Ellen Harvey

Art After Dark And After will temporarily abandon its sedentary studio format and go mobile as it tapes live in a limousine driven back and forth from DIVA Fair in Battery Park to the Armory Show on Pier 94 in Midtown, Manhattan. Art After Dark And After in a Limo feeds off the energy and spontaneity of the studio audience whom will be invited to come along on the road trip, enjoy complimentary champagne, and witness a conceptual exhibition cum talk show and vice versa. After each trip reaches its destination, a tape of the interview will be played on a monitor located at DIVA Fair and the Armory Show while simultaneously a new segment of Art After Dark And After in a Limo is recorded live in the limousine. Artists: Cleverson, Ellen Harvey, Eldon Garnet, Carlos Amorales, Sislej Xhafa, Chris Sauter, Enrique Jizek, Remy Amezcua.

Art After Dark and After in a Limo will make one round trip on opening night of DIVA Fair and Armory Show, February 22, and two round trips from 2:00pm-4:00pm on each day of the DIVA Fair, February 23-25. Artists to be interviewed will be selected from participating galleries at DIVA Fair and the Armory Show. Audience participation is open to the general public and free of charge, but RSVP is required. To RSVP, please go to: http://www.frereindependent.com/eventslist.php

Art After Dark And After is by hosted by Raul Zamudio, Curator-at-Large The Artist Network, NY, NY. A curator of many exhibitions in the U.S. and abroad, he has extensviely published on contemporary art in books, museum and gallery exhibition catalogs, journals and magazines.

Art After Dark And After is produced by the Artist Network and NICA (Nomadic Institute of Contemproary Art). The Artist Network is an artist-run residency and exhibition space located on Broadway in Downtown Manhattan, and has organized exhibitions and cultural events in Europe, China and the Americas.
Art After Dark And After in a Limo is executively produced by DIVA, and the AC Institute, NY, NY. Limousine has been graciously provided by AC Institute.

Art After Dark And After is a talk show that speaks many languages. Part Charlie Rose meets Graham Norton by way of the analyst’s couch and Andy Warhol’s TV (1982), Art After Dark And After serves more than a platform for exchange between host and guests and interviewer and interviewees. It appropriates the talk show format and reconfigures it as a curatorial endeavor in which dialogue and interaction between host and guest, are equivalent to the symbiosis between curator and artist. Art After Dark And After Link: http://theartistnetwork.org/streaming06/Sindex.html

AMERIKKKA

2006-11-28T06:32:00.000-05:00

"America is a broken toy" - Johnny Depp

Riiko Sakkinen, Taco Shit, watercolor, ball point pen and stickers on hotel stationary, 2006 Field Marshall Cinque (Donald DeFreeze) and Comrade Tania (Patty Hearst) of the Symbionese Liberation Army robbing Hibernia Bank, San Francisco, April 1974

left to right: Riiko Sakkinen, Gosia Koscielak, Roberto Visani, Michael Tong

Left to right: Angel Nevarez, Robert Boyd, Emma McCagg

Left to right: Rainer Gross, Atelier Morales, Fiona Smyth, Silange Fabiao, Yasira Nun

Left to right: Alejandro Diaz, Cleverson, Dan Perrone, Anthony Goicolea, Roberto Visani (from ceiling)
Scott Lifshutz
Left to right: Roberto Visani, Sanchez Brothers

AMERIKKKA
curated by Raul Zamudio

The idiosyncratic spelling that constitutes the word AMERIKKA may remind some of a socially particular, militant past: for it directly appropriates the acclaimed CD recorded by Ice Cube after he left the highly influential gangster rap group N. W. A. But the show is more than homage to one of the most compelling rap recordings of all time; for the title is used as foil to explore the notion of America by artists who work within the U.S. and abroad regardless of nationality. The transnational dimension of the exhibition is partially inspired by some of the most poignant observations of America that have come, for instance, from foreigners such as the nineteenth-century historian Alexis De Tocqueville, the twentieth-century poststructuralist philosopher Jean Baudrillard, and the contemporary filmmaker Lars Von Trier.

Like the previous mentioned examples, the ways the artists individually approach the exhibition’s theme is highly diverse, eclectic and personal. Some mine the myth and reality of America by focusing on recent issues of a political and social nature. Other artist address historical topics, while others still create work that is purely based on fiction and the imaginary. The exhibition distinguishes itself from recent shows such as the Uncertain States of America, for example, by including artists from beyond the U.S. in order to offer a rich perspective on America and the myriad emotions that it engenders from within and without including fear, despair, hope, admiration, hatred, and love.

Artists: Domingo Sanchez Blanco, Robert Boyd, Cleverson, Alejandro Diaz, Solange Fabio,Anthony Goicolea, Gosia Koscielak, Ghariokwu Lemi, Scott Lifshutz, Ferran Martin
Emma McCagg, Angel Nevarez, Yasira Nun, Dan Perrone, Riiko Sakkinen,
Sanchez Brothers, Fiona Smyth, Richard Stipl, Roi Vaara, Roberto Visani
The Artist Network, NY, NY January 19- February 16, 2007
Opening January 19 6:00-8:00pm

DUSK

2006-11-27T09:36:00.000-05:00

Stuart Croft: film still from 'Newman', Super 16mm color film transferred to DVD, 45 second loop, 2005 © Stuart Croft, 2005. Courtesy Fred [London] Ltd.
DUSK curated/organized by Raul Zamudio,The Village, Ocean drive(Diva Fair)12/07-10/2006 7 00 pm - 10 00 pm Price: Open to the public Every day at dusk, Raul Zamudio invites a curator to present the work of selected video artists. - - -DIVA Miami and Raul Zamudio Presents: DUSK /dʌsk/–noun 1. The state or period of partial darkness between day and night; the dark part of twilight. 2. Partial darkness; shade; gloom: “She was barely visible in the dusk of the room.” Dusk, as it definition implies, is an in-between state; and this designation is used as curatorial framework for a series of video exhibitions that will be part of DIVA Miami Beach. DUSK consists of programs of video art selected by local, national and international curators under the directorship of Raul Zamudio. Each curator will be given a slot in the program to interpret dusk either in its literal guise as a register between lightness and darkness, in its implication as “partial darkness, shade, gloom”, or will use the term as metaphorical foil. Invited curators: Frederick Janka/Curator/Mexico City; Jennifer Teets/Curator of Contemporary Art/Sala Arte Publico Siquieros/Mexico City; Camilla Sing/Assistant Director/Curator/Museum of Contemporary Canadian Art/Toronto; Mariko Tanaka/Director of Exhibtions/The Artist Network/New York City; Roland Stone/Curator/Critic/London; Victor Zamudio Taylor/Curator/Critic/Researcher/Mexico City/Paris; Elzbieta Koscielak/Curator/Critic and Gosia Koscielak/Curator/FORUM/Wroclaw; Zhahoui Zhang/Director/Curator/Museum of Contemproary Art, Beijing; Thalia Vrachopoulos/Curator/Critic/New York City; Suzanne Treister/Artist/Curator/London

Body Double

2006-11-27T09:31:00.000-05:00

2006-11-27T09:28:00.000-05:00

2006-11-12T22:46:00.000-05:00

Body Double
Curated by Raúl Zamudio
November 24- December 31, 2006
FORUM + Elzbieta Koscielak Gallery Cultural Center Zamek
Lesnica Castle Wrocław – Leśnica, Poland.
Exhibtion will aslo tour the following cities: Warsaw, Krakow, and Poznan. Body Double is a part of the Elzbieta Koscielak project Art Identities, and is sponsored by the Polish Ministry of Culture. Artists: Oreet Ashery/London, Karlos Carcamo/New York City, Cleverson/New York City/Brazil, Alejandro Diaz/New York City, Andrea Frank/New York City, Erika Harrsch/New York City, Scott Lifshutz/New York City, Katja Loher/Switzerland, Emma McCagg/New York City, Yasira Nun/New York City, Edgar Orlanieta/Mexico City, Dan Perrone/New York City, Riiko Sakkinen/Toledo/Finland, Svai & Paul Stanikas/Paris/Lithuania, Sari Tervaniemi/ Helsinki. Video works: Robert Boyd/New York City, Teresa Serrano/Mexico City, Stuart Croft/ London, Ferran Martin/New York City/Madrid

The exhibition Body Double takes its name from the 1984 film by Brian De Palma, but it is also a film production term. A ‘body double’ is a person who stands in for a performer to enact certain types of scenes or to facilitate special effects: it is an individual who takes the place of a well-known actor. Taking that into consideration, then, Body Double is an exhibition of international artists who approach figuration conceptually where the body becomes surrogate for the social body and the body politic, for example. This endeavor is ample in scope and manifests not only in mimetic representation or even in the purely abstract, but also included in the exhibition are works that refer to the body through its absence as well as its presence. The viability of this curatorial proposal partially rests on new models of the somatic explored and proposed in other disciplines including science and the medical field.-Raul Zamudio

The Passenger

2006-11-12T22:42:00.000-05:00

The Passenger
Dot-Art Independents/Liverpool Biennial 2006 Liverpool, UK November 20-27, 2006 Curated by Raul Zamudio

In one of the most memorable films by the Italian director Michelangelo Antonioni, titled The Passenger, Jack Nicholson plays a burnt-out reporter who exchanges his identity with that of a man he finds dead in a North African hotel room. He does this to get away from his previous life. But his past comes to haunt him by way of his wife and friends who go in search of him, but also by strangers who have business interests with the deceased in the hotel room. Like the film, the exhibition The Passenger works with the notion of mistaken identity; and woven into this curatorial thread is the understanding of subjectivity as fluid by virtue of its perpetual reciprocity with its environment. The Passenger implies this state of dialogism via the exchange between artists who live outside of Liverpool with those who reside there. While this connotes movement, migration, and the nomadic, The Passenger is not unilateral but a circuit and a network that is equally dependent on the inside as well as the outside. It does not, moreover, elide the specificity of locality which in this case is the city of Liverpool, but equally understands that the global framework can also be monolithic, oppressive and exclusionary. This is underscored in the 2006 Liverpool Biennial’s pretense to internationalism where it turns a deaf ear to the artists who reside in the biennial’s host city.-- Raul Zamudio

All The World's A Stage

2006-11-12T22:34:00.000-05:00

2006-11-12T22:21:00.000-05:00

2006-11-12T22:05:00.000-05:00

All the World’s a Stage New paintings, works on paper, sculptures and text-based pieces by Emma McCagg. Curated by Raul Zamudio Gosia Koscielak Studio and gallery Chicago, IL November 10-December 10

Guy Debord’s Society of the Spectacle, Jean Baudrillard’s Simulacra and Stephen Lambert’s Reality TV; what do these immensely disparate individuals—a cultural theorist, a philosopher, and creator of a TV genre, respectively—and their ideas have in common? They all recognize the thin line between reality and artifice. While it would be shortsighted to assume that Emma McCagg’s solo show titled All the World’s a Stage refers to the collapsing of art into life where actor and audience become one, this new body of work is more concerned in narrating the meltdown of fact and fiction and its social, political and cultural affectation. In her Endless Gossip Column (after Brancusi) (2006), for example, McCagg stacks tabloid journals one on top of each other and configures them into a Brancusi-like sculpture alluded to in the work’s title. This deliberate blurring of high and low culture, where even discourse around this canonical Modernist work is reduced to hearsay and gossip, is also extended in McCagg’s paintings. These works are constituted from a convergence of pulp journalism and political infomercials that subsequently make it difficult to tell the veracity of one source of information over the other. The individual pieces in the exhibition dovetail on what she construes as a kind of mass cultural schizophrenia manifesting in the contemporary world in a myriad of ways: Reality TV becomes more interesting than life; and chat rooms become virtual stages where people create and discard personas like the rest of us change socks. But the unreality of these endeavors is only made more surreal when the ostensibly unbelievable becomes status quo: an actor becomes president of a nation while his spouse consults an astrologer; a bodybuilder and Hollywood star known for his role as a robot is elected governor of a state; the current First Lady of the White House introduces herself as “a kind of Desperate Housewife;” the author James Frey fabricates his memoirs; and another writer made her name parading around as the destitute, drugged, male prostitute named J.T. Leroy, but was exposed as a female yuppie who was “slumming” in order to get published. These real-life “scripts’ as humorous as they are, would never be believed as fiction because of their lack of verisimilitude; in life, however, they foreground that indeed all the world is a stage. —Raul Zamudio

Art After Dark

2006-10-15T08:41:00.000-04:00

Art After Dark, produced by the Artist Network, NY, NY, is a talk show that speaks many languages, both literally and metaphorically. Part Charlie Rose meets Graham Norton by way of the analyst’s couch, Andy Warhol’s TV (1982), Lucio Fontana’s Television Manifesto of the Spatial Movement (1952), and a spin on Ludwig Wittgenstein's philosopy of the primacy of language, Art After Dark serves more than a platform for exchange between host and guests and interviewer and interviewees. As hosted by independent curator and critic Raul Zamudio, Art After Dark is an exhibition of sorts in real time that appropriates the talk show format. It inverts the traditional function of the exhibition as repository of art objects in which curatorial narrative is conveyed through selection, placement and so forth. For if the art object is an extension of the artist then the inverse must be true as well: now the artwork manifests through the artist. Thus, Art After Dark reconfigures the interview genre as performance art in which dialogue, communication and interaction are framed symbioticaly as curatorial/artistic articulations. Art After Dark is a curatorial model whose title is inspired by two disparate sources: one is the ubiquitous Art After Dark programs offered by museums that the curator/host finds banal and superflous. The other has to do with cable televison's inception and one of the shows it offered that the curator/host tried to illegally access when he was an adolescent: Playboy After Dark. Artists curated/interveiwed so far include Javier Tellez, Wenda Gu, Surface 2 Air, Pablo Helguerra, Katja Loher, O Zhang, Filip Noterdaeme/The HOMU Museum, Jeff Gompertz, Alfredo Martinez. Art After Dark Link: http://theartistnetwork.org/streaming06/Sindex.html Art After Dark was first launched in September of 2004; since then there have been others who have jumped on the bandwagon, although those endeavors are more akin to art journalism for the cocktail circuit rather than a conceptual curatorial project.

(212)-911

2006-09-30T09:46:00.000-04:00

Javier Tellez, Apocalypse Now, mixed-media, 2004 El Perro, What is Important is to Participate, DVD still, 2003

2006-09-30T09:22:00.000-04:00

White Box presents (212)-911
@ Art (212) Contemporary Art Fair
NY, NY
November 270October 1, 2006
Curated by Raul Zamudio and Juan Puntes
Artists: Dennis Adams, A.E.S.& F., Assume Vivid Astro Focus, Robert Boyd, Conrad Atkinson, Christoph Draeger, El Perro, Rainer Ganahl, Kyle Goen, Maximo Gonzalez, Patrick Hamilton, ALfredo Jaar, Alexei Kalliman, Larry Litt, Marcos Lopez, Mary Mattingly, Muntadas, Dread Scott, Seric Choba, S & P Stanikas, Javier Tellez, Zhou Xiaohu
(212)-911 is a group exhibition camouflaged as an installation. It uses, as curatorial foil, Manhattan’s area code referenced in New York’s most recent art fair contender that is organized under the rubric of Art (212). While art fairs proliferate and we enjoy their offerings such as a still-life painting, a sepia-tone landscape photograph, or a meticulously rendered sculptural portrait, the myriad of social and political crises both in the U.S. and abroad continue unabated and demand the utmost immediate attention from the world at large. This state of emergency has motivated White Box’s contribution to Art (212) as an urban S.O.S.: 911. The works in (212)-911 convey this immediacy in a plethora of formal and thematic ways and have been selected from White Box’s history and its pivotal role as a progressive and critical art institution in the New York art world. The survey of works in (212)-911 does not attempt to be comprehensive of White Box exhibitions. Rather, it is a selection of particular poignant and compelling exhibitions and projects that addressed the current political and social landscape with an unabashed courage and critical sensibility that has been quintessentially White Box. The works in (212)-911 are culled from such iconic White Box shows including The Blame Show: Dissent + Freedom; Democracy Was Fun; Six Feet Under: Make Nice; Alex Kalima: Dead Calm, Chechnya; and Another Expo: Beyond the Nation State. The urgency in which these exhibitions were able to respond to contemporary political and social issues has been a distinguishing factor in White Box’s programming from its inception and that has differentiated it from other exhibition spaces whether they be commercial or non-profit. To paraphrase Andre Bretons’s metaphor of Frida Kahlo’s painting, (212)-911 is a “bomb with ribbon tied around it”—Raul Zamudio

Katja Loher: Wherever You May Be

2006-07-18T09:02:00.000-04:00

Katja Loher: Wherever You May Be [info. below]

2006-07-18T08:51:00.000-04:00

Katja Loher: Wherever You May Be [info. below]

2006-07-18T08:41:00.000-04:00

Katja Loher: Wherever You May Be
Curated by Raul Zamudio
The Artist Network, NY, NY
April 28- May 28, 2006

Katja Loher: Wherever You May Be, consists of two site-specific video installations and photographs. Both installations and photographs revolve around the theme of longing and belonging and this nomadic impulse reflects the peripatetic nature of Loher’s artistic trajectory: an aesthetic that is global in scope, but local in regards to where her art is made underscored with works in the exhibition conceived and created during her residency at The Artist Network. One installation utilizes the architecture and design of the Artist Network exhibition space and transforms it into a gesamkunstwerk type minimalist house, replete with door, mail box and windows. The three windows are video works akin to a trilogy and serve as conceptual vistas into the artist’s poetic exploration of New York and other locales that are not so easily distinguished such as a forest and an underwater mise-en-scene. In one “video window” a woman descends, as if from another dimension, to earth in a bubble onto the gritty, industrial areas of Williamsburg and subsequently meanders through a visually rich tableau: a diner, a deserted street as well as other familiar and otherworldly backdrops that culminates in the video’s coda with her bathing on a beach. Water, which features prominently in Loher’s work, is the link to the other videos and is used metaphorically for its myriad associations: as cleanser and purifier, in its ability to circumvent solidity, as catalyst intrinsic to life. The other video installation is formally and conceptually inked to this wok by way of the house’s door and its peephole: as one looks into the aperture the viewer’s eye is captured live on camera and projected in an adjacent exhibition space onto a globe suspending from the ceiling that resembles an eye. The image on the eye is a confluence of recorded footage as well as the live feed. Video footage includes time- elapsed recordings of foliage growing from seedling to maturation, as well as a series of poems by the Chilean poet Pablo Neruda in which people are posed and positioned to create letters that form the words in the poems- Raul Zamudio Link to Katja Loher video of exhibition and other works: www.katjaloher.com/news.htm

El principio del placer [The Pleasure Principle]

2006-07-18T08:33:00.000-04:00

El Principio del placer [The Pleasure Principle] [info. below]

2006-07-18T08:21:00.000-04:00

El Principio del placer [The Pleasure Principle]
Curated by Raul Zamudio MACO/Mexico Arte Contemporaneo Mexico City, Mexico, April 26-30, 2006
Artists:
Didier López Carpio
Francisco Toledo
Guillermo Olguin
Heriberto Quesnel
Irene Dubrovsky
Jesús Lugo
Laura Rossette
Ricardo PintoSergio Garval

Animal Magnetism

2006-07-16T12:46:00.000-04:00

Animal Magnetism [info. below]

2006-07-16T12:32:00.000-04:00

Animal Magnetism Curated by Raul Zamudio Cuchifritos, NY, NY February 11 - March 25, 2006 Artists: Karlos Carcamo, Andrea Frank, Scott Lifshutz, Emma McCagg, Paul Mullins, Dan Perrone, Liselot Van der Heijden
Animal magnetism, which has also been called mesmerism, was based on the therapeutic value of hypnotism. The term first appears in Franz Anton Mesmer’s 1874 dissertation in regards to the influence of heavenly bodies on humans and their physical, mental and emotional health by means of what he called "animal gravity." This “energy” that he detected was different from physical magnetism in that Mesmer believed that he could "magnetize" paper, glass, dogs and all manner of animate and inanimate objects and substances. He regarded this force, which he said could be exerted by one living organism over another, as a means of alleviating disease. His propositions were as follows: "There exists a mutual influence between the celestial bodies, the earth, and animated things. Animal bodies are susceptible to the influence of this agent, disseminating itself through the substance of the nerves." In the contemporary lexicon, animal magnetism also refers to sexuality in that a person can have such seductive qualities that he/she can bring out the carnal nature of a person via their animal magnetism. Animal Magnetism explores these topics as well as the zoomorphic dimension of humans and the anthropomorphizing of animals-Raul Zamudio

My Mother, The Nazi

2006-07-16T00:41:00.000-04:00

My Mother, The Nazi [info. below]

2006-07-16T00:10:00.000-04:00

My Mother, The Nazi [info.below]

2006-07-16T00:09:00.000-04:00

My Mother, The Nazi Curated by Raul Zamudio, The Artist Network, NY, NY December 9, 2005- January 25, 2006 Artists: Oreet Ashery, Domingo Sanchez-Blanco,Robert Boyd, Karlos CArcamo, Cleverson, Matthew Cox, Andrea Frank, Sang-bin Im, Teemu Maki, Emma McCagg, Megan McGinnis, Teresa Serrano, Svai & Paul Stanikas, Vargas-Suarez Universal “Born in 1913, as the illegitimate daughter of an Anglo-Irish grandee and a noble Spanish diplomat, she was early determined to overcome the slight of her bastard birth and life with her abandoned mother, who had taken rooms over a butcher’s shop in London’s Mount Street. She noticed well before she was nine, that considerable profit could be made from consorting with those men who had a title.

By the early thirties, her name was appearing frequently in the Court Circular of the London Times. Then, sometime in 1934, at the house of Sir Roderick Jones and his wife Enild Bagnold (both of whom she was to boast she had seduced), came the meeting with a former champagne salesman turned German Ambassador to London, Joachim von Ribbentrop. According to her boasts, she threw herself headlong into an affair with Hitler’s emissary, intoxicated by the elitism and uniformed elegance of the Nazi Party. Joining the “Ribbentrop Buro” and the Anglo-German Fellowship, she reveled in the pro-Nazi activities of the day”—Julia Camoys Stonor, My Mother, the Nazi: A Wartime Childhood Amongst the English Aristocracy

So goes the introduction to a memoir by the English writer Julia Camoys Stonor; a recollection fashioned with a postmodern sensibility that deftly meshes autobiography, literature, the confessional and a tad of tabloid journalism. But her work, from which the exhibtion My Mother, The Nazi takes its title, is more than a window into pre-World War II London and after. For far beyond the languid underbelly of intrigue, deception, and betrayal lies a panorama of a pathological milieu. And like a Saturn that devours its children, it is tale of familial and social cannibalism that forever can be retold, albeit that only the names of the victims and victimizers would be different. This exhibition, then, explores the neurosis of the maternal within a broad purview of its literal and figurative manifestations. Some of these include the mother of blonde, white supremacist, pre-teen twin girls that sing under the Pop moniker of Prussian Blue and dress in t-shirts with smiley faces of Hitler; or, how about a certain member of the English Royal progeny who was photographed dressed as an SS officer? Are these children solely to blame or are they just the products of a deranged upbringing spawned by a Mommie Dearest, a Soccer Mom, a Stepford Wife...and socialized by authoritarian maternal surrogates such as the Daughters of the American Revolution, The National Republican's Women Organization, the Queen, the Motherland...the return of the repressed..the infantile perturbations of psyches desublimated by what Freud problemtically termed the "vagina dentata"?— Raul Zamudio

The Bermuda Triangle

2006-07-15T23:54:00.000-04:00

The Bermuda Triangle [info. below]

2006-07-15T23:37:00.000-04:00

The Bermuda Triangle Curated by Raul Zamudio Ambrosino Gallery, N0rth Miami, FL November 29-December 29, 2005. Artists: Atelier Morales, Bik Van der Pol, Karlos Carcamo, Cleverson, Stuart Croft, Andrea Frank, Erika Haarsch, Scott Lifshutz, Ferran Martin, Emma McCagg, Yasira Nun, Edgar Orlaneita, Dan Perrone, Franco Mondini Ruiz, Rikko Sakkinene, Daniel Zeller. (Link to Stuart Croft video): http://www.luxonline.org.uk/aem/lol/video.jsp?assetID=1167396&moName=300qt

Poles Together, Poles Apart

2006-07-15T23:32:00.000-04:00

Poles Together, Poles Apart Curated by Juan Puntes & Doron Polak; co-curated by Raul Zamudio and others. A group show that utilized the mooring poles for gondolas in the Grand Canal of Venice as exhibition space. This exhibition was an official off-site project of the Venice Biennale, 51st Venice Biennial, Venice, Italy, June 12-November 12, 2005

Daniel Gottin: Minimal Improvisation

2006-07-15T23:20:00.000-04:00

Daniel Göttin: Minimal Improvisation Curated by Raul Zamudio The Artist Network, NY, NY June 10-September 5, 2005

Los retratos de Dorian Gray [The Pictures of Dorian Gray]

2006-07-15T23:03:00.000-04:00

Los retratos de Dorian Gray [The Pictures of Dorian Gray] [info. below]

2006-07-15T22:48:00.000-04:00

Los retratos de Dorian Gray [The Pictures of Dorian Gray] [info. below]

2006-07-15T22:35:00.000-04:00

Los retratos de Dorian Gray
[The Pictures of Dorian Gray]
Un proyecto curatorial
por RaulZamudio Galeria de Arte Mexicano Mexico D.F. Abril 23-Mayo 24, 2005

En la novela gotica El retrato de Dorian Gray, escrito por el autor Ingles vitoriano Oscar Wilde, el protagonista Dorian Gray comisiona una pintura. Esta pintura captura aspectos de Dorian que no quiere que nadien conosca, y Dorian esconde su retrato en un ropero. El retrato se transforma cuando Dorian empieza una vida decadente. Mientras el imagen de Dorian se vuelve viejo y feo, Dorian se queda joven. A descrubrir el retrato que ya se esta acercando a la muerte, Dorian se mata. Este cuento tiene mucho niveles de interpretacion: la vida secreta que tiene cada persona; y la nocion de del autoretrato. La exposicion, Los retratos de Dorian Gray, desarolla estas temas en pintura, trabajo sobre papael, fotografia, escultura, y video. Raul Zamudio

Artistas:

Duncan Anderson-Oreet Ashery-Stuart Croft-Andrea Frank-Erika Harrsch-Zhang Huan-Scott Lifshutz-Pia Lindman-Emma McCagg-Yasira Nun-Edgar Orlaineta-Rikko Sakkenen-Svai y Paul Stanikas-Sari Tervaniemi-

Under Your Skin

2006-07-15T02:31:00.000-04:00

Under Your Skin [info. below]

2006-07-15T02:27:00.000-04:00

Under Your Skin [info. below]

2006-07-15T02:22:00.000-04:00

Under Your Skin [info. below]

2006-07-15T02:17:00.000-04:00

Under Your Skin [info. below]

2006-07-15T01:59:00.000-04:00

Under Your Skin Curated by Raul Zamudio White Box, NY, NY March 22 – April 23, 2005 Artists: AXEL ANTAS-ELINA BROTHERUS-VELI GRANO-PIA LINDMAN-TEEMU MAKI- JAAKO NIEMELA-FANNI NIEMI-JUNKOLA-RIITTA PAIVALAINEN-ANU PENNANEN- ILPPO POHJOLA-RIIKO SAKKINEN-JUHA SUONPAA-SANTERI TUORI-ROI VAARA. The second installment of White Box's three-year series on Finnish art is titled Under Your Skin. The exhibition’s title is culled from a landmark 1966 film by the acclaimed Finnish director Mikko Niskanen. Niskanen’s film is a watershed in Finnish cinema in that it eschewed conventional formal structures as well as circumventing film studios by becoming the first independent work. The term "under your skin" also alludes to an English colloquialism that refers to something troubling, irritating or provocative to the point that it gets "under one's skin.” Taken together, both film title and idiom converge as metaphor for the interaction between Finland and the world beyond it that extends the theme of the first exhibition on Finnish art. Titled Finnish Tango, this initial exhibition cited Finland’s importation of Argentine dance and used this phenomenon as foil to address how Finnish artists absorb, translate and reconfigure influences from abroad into transnational art practices. In contrast, Under Your Skin looks at Finnish artists who work outside of their native country as well as within it. The resulting dialogue between the myriad geo-cultural points of reference from inside and outside, will underscore the global nature of Finnish art that is influenced by the locality of wherever it is made. It is through its malleable and absorbent nature that Finnish art undermines essentialism, and questions the mechanisms that construct nationalist discourses both within its own borders as well as where Finnish artists may work in the international arena -Raul Zamudio Link to exhibition review: http://www.newyorkartworld.com/reviews/under-your-skin.html

Democracy Was Fun

2006-07-15T01:43:00.000-04:00

Democracy Was Fun Curated by Juan Puntes & Raul Zamudio White Box NY, NY November 11-December 19, 2004 Artists: Vito Acconci / Conrad Atkinson / Carlos Amorales / Art + Language / Melanie Baker / Jane Benson / Robert Boyd / Tania Candiani / Michael Estabroook / Solange Fabiao / Coco Fusco / Rainer Ganahl / Kendell Geers / Mariam Ghani / Zhang Huan / Les Levine / Scott Lifshutz / Dominic McGill / Arnoldo Morales / El Perro / Christy Rupp / Rikko Sakkinen / Eduardo Sarabia / Seric Shoba / Ray Smith / Javier Tellez / Momoyo Torimitsu / David Wakstein / Hans Winkler

Anthro/SOCIO

2006-07-15T01:35:00.000-04:00

Anthro/SOCIO [info.below]

2006-07-15T01:18:00.000-04:00

Anthro/SOCIO Curated by Raúl Zamudio The Artist Network, NY, NY 11/05-12/06, 2004. Artists: Duncan Anderson-Oreet Ashery-Kimberly Aubuchon-Andrew Dermijian-Dhlia Elsayed-Andrea Frank-Zang Huan-Erika Haarsch-Scott Lifshutz-Ferran Martin-Alfredo Martinez-Emma McCagg-Dominic McGill-Yasira Nun-Rikko Sakkenen-Sari Tervaniemi-Liselot van Der Heijden The Artist Network is pleased to announce the exhibition Anthro/Socio. The exhibition explores two narrative trajectories that split into a myriad of thematic strands. One is the polarity between anthro, with its Greek root meaning “man,” and socio, which is derived from the Latin and means “companion.” Both are prefixes to numerous words that underlie a subtext of the show: what does it mean to address such things as the anthropology or the sociology of art, for example, as divergent perspectives on artistic practice that traditionally stemmed from a study of two historically variegated forms of social community? The anthropology of art refers to the visual culture of so-called “primitive” or underdeveloped society, while the other connotes urbanity and its art forms that run the gamut from “fine art” to “low culture” and all things in between. The latter’s division of artistic practice into “high” and “low” has presumably been a marker of societal complexity. Yet, as the exhibition makes quite clear, this type of polarization of culture and society is confronted by a whole new set of criteria produced by the changing dynamics of globalization. As the international influx of populations move to any given city, urban space itself becomes increasingly inundated with a diversity of cultures from all walks of life consequently making the anthropology/sociology delineation exceedingly implausible. Other dichotomies are also explored in the exhibition that highlights this problematic: organic/synthetic, nature/culture, virtual space/reality, native/foreigner, and self/other. The other reference to the show comes from Bruce Nauman’s 1992 installation titled “Anthro/Socio.” The installation is a multi-channel video work projected on walls as well as displayed on monitors and consists of a face that screams: "Feed me, eat me, anthropology ... Help me, hurt me, sociology ... feed me, help me, eat me, hurt me." Raul Zamudio (link to Liselot van Der Heijden video: http://www.liselot.info/proj/feastvid.html )

The Phantom Limb

2006-07-15T01:07:00.000-04:00

The Phantom Limb [info. below]

2006-07-15T01:01:00.000-04:00

The Phantom Limb Curated by Raul Zamudio September 10-October 3,2004. Unit B Gallery, Chicago Artists: Thierry Alet-Cleverson-Stuart Croft-Andrew Dermijian-Dahlia Elsayed-Solange Fabiao-Rainer Ganahl- Erika Haarsch-Pelagia Kyriazi-Scott Lifschutz-Despo Magoni-Emma McCagg-Dominic McGill- Yasira Nun-Rikko Sannen-Torild Stray-Sari Tervaniemi.
Phantom Limb: The first known description of phantom limb was given by Ambroise Paré, a 16th-century surgeon: "For the patients, long after the amputation is made, say they still feel pain in the amputated part. Of this they complain strongly, a thing worthy of wonder and almost incredible to people who have not experienced this."

Dennis Oppenheim: Armatures for Projection, The Early Factory Projects

2006-07-14T15:18:00.000-04:00

Dennis Oppenheim: Armatures for Projection-The Early Factory Projects Curated by Raul Zamudio January 16, 2004 - February 14, 2004 White Box NY, NY

Emma McCagg: Hard Copy

2006-07-14T10:59:00.000-04:00

Emma McCagg: Hard Copy [info. below]

2006-07-14T10:53:00.000-04:00

Emma McCagg: Hard Copy [info. below]

2006-07-14T10:37:00.000-04:00

Emma McCagg: Hard Copy Curated by Raul Zamudio September 16-31 Eighth Floor Gallery, NY, NY Hard Copy is an exhibition that formally and conceptually revolves around painting. With the plethora of painting exhibitions of the last four years as well as critical writing in magazines and journals concerning the "death of painting," "the return to painting" and other reassessments of the medium, Hard Copy takes a more ironic stance towards painting by fusing formal aspects of figuration, abstraction, decoration, interior design, with readymade sculpture, works on paper and video into a cohesive exhibition/installation. Hard Copy thematically mines the media, sensationalism, the thin line between “objectivity” and fiction, and the American obsession for celebrities whose iconic status have been further propelled by recent falls from grace. Yet the paired figures of celebrities in Hard Copy are given an idiosyncratic air of respectability as well as notoriety, for the paintings simultaneously refer to academic portraiture, film studio publicity stills, police mug shots, as well as paparazzi photographs. Converging on the canvas, these disparate forms of visual culture culled from both the "high and low" are wry commentary on the American culture of complacency and the complacency of culture. The paintings are juxtaposed with works on paper taken from actual articles written by the artist when she was a newspaper journalist pursuing such cases as the disappearance and purported murder of Kathleen Durst by her husband, a scion of the Durst family. The exhibition also includes sculpture made from readymade magazines such as the National Enquirer and the Star. Rounding out the exhibition is a collage of paparazzi video taken from amateur video hounds from Los Angeles. This short video collage of Paris Hilton, Leonardo DiCaprio, Juliette Lewis and others, is set against the soundtrack of the 1980s hit Obsession by Animotion—Raul Zamudio

BQE

2006-07-14T10:32:00.000-04:00

B.Q.E.PART I - QUEENS [info. below]l

2006-07-14T09:08:00.000-04:00

B.Q.E.PART I - QUEENS [info. below]l

2006-07-14T09:06:00.000-04:00

B.Q.E.PART I - QUEENS Curated by Raul Zamudio and Heng Gil White Box NY, NY September 5 - September 20, 2003 Jaishri Abichandani-Elia Alba-Katrin Asbury-Brandon Ballengae-Tom Bevan-Karlos Carcamo-Zhang Hongtu-Zhang Huan-Rajkamal Kahlon-Larry Litt-Wangechi Mutu-Michael Rakowitz-Liselot van der Heijden

Miguel Angel Rios: Ni me busques...no me encuentras

2006-07-14T08:27:00.000-04:00

Ni me bisques, no me encuentras.... [info. below]

2006-07-14T08:10:00.000-04:00

Miguel Angel Rios: Ni me busques, no me encuentras Curated by Raul Zamudio November 9- January 4 2003 White Box NY, NY Ni me busques ...No me encuentras is an exhibition of recent work by Miguel Angel Rios consisting of a three-channel DVD projection and related works on paper. The DVD projection, from which the exhibition takes its name, was filmed in the desert region of San Luis Potosi, Mexico. The locale of Ni me busques...No me encuentras situates it within the rich history of landscape representation. Some influences that can be detected in the work are the Dutch Baroque panorama, Nature and the Kantian sublime, late 19th century photography and optical viewing machines like the stereoscope, and the landscape paintings of Dr. Atl. The use of landscape in the exhibition is more than just a backdrop, for it is part of a genre that is rife with cultural, social and political meaning. This can be seen in the diverse traditions of landscape depiction that are equally inscribed with the historical context of their inception as well as being articulations of a particular aesthetic or style. Thus the Dutch Baroque panorama, for example, evinces not only to what the art historian Sveltlana Alpers calls "The Art of Describing," but is also related in a roundabout way to Dutch colonialism via the role of the artist as dominant surveyor over a subordinated landscape. Rios DVD projection addresses this by presenting us a psycho-geographical sojourn that unfolds within an organic mise-en-scene of animated flora and fauna. Ni busques...No me encuentras concerns the artist's search for the sacred, indigenous cactus otherwise known as peyote in the vast, desert landscape. In a different spin on the flâneur not as cosmopolitan but as botanist, the artist is confronted by a plethora of philosophical conundrums. Wandering in the landscape, Rios encounters a band of folk musicians playing a funeral march. This music is part of the soundtrack of his peregrination, which also includes the hypnotic rustle of the wind and the Doppler effect of an audible, yet invisible train. Included in the exhibition are related works on paper of landscape imagery enhanced through digitization. They serve as formal and thematic counterpoints to the DVD projection, creating a visual and conceptual dialogue between them. Whereas the DVD projection is devoid of post-production manipulation and is formally driven by wide-pan shots, multi-channel projection and other cinematic techniques that allude to the landscape as "subjective," the works on paper subvert landscape representation altogether through their emphasis on simulation and artificiality. The exhibition poetically reminds us what a philosopher once said about nature in general: "that nature is anything but natural."-Raul Zamudio

Javier Tellez: Alpha 60 (the mind-body problem)

2006-07-13T23:34:00.000-04:00

Alpha 60 (The mind - body problem) [info. below]

2006-07-13T23:27:00.000-04:00

Alpha 60 (The mind - body problem) [other info. below]

2006-07-13T23:24:00.000-04:00

Javier Téllez: Alpha 60 (The mind - body problem) Curated by Raul Zamudio White Box, NY, NY September 20-October 26. Alpha 60 (the mind-body problem), a multimedia installation by Javier Téllez, takes as its point of thematic departure a crucial element from Jean Luc Godard's science fiction film, Alphaville. In that film, there is a supercomputer called Alpha 60 that controls Alphaville and that monitors its populace. Although Alphaville provides an idyllic life for its citizens in a crime-free environment, it is a society where conventionality and homogeneity are condoned, mediocrity prized, and banality celebrated. Alphaville is, in other words, a totalitarian and nightmarish world; it is a city "where words such as redbreast, weeping, autumn light, and tenderness disappear from the dictionary every day; a city where no one knows the meaning of the words "why" and "conscience." While the narrative strands in Godard's film are many, an undercurrent that links Alphaville the film with Alpha 60 the installation is Alphaville's mundane life and homogeneity as well as the notion of the ideal citizen who submits to society for the benefit of the collective; yet one of the returns of this social contract are the provisions and amenities provided that signify civility and that cushion and make uniformity palatable. Alpha 60 poignantly addresses this through Sisyphean tasks that are part of the installation's formal strategy: over 2,000 miniature cars made from soap bars, boxes of psycho-pharmacological drugs and sponges seem to be pushing round, colorful objects as an end in itself. Transportation is thus seen not as progress but as regression, not as a means but for its own sake, not of dynamism but of stasis. One of these objects, which has grown to gargantuan proportions, is seen in a video projection filmed in a psychiatric hospital. The patients of the hospital, like the cars, are pushing the circular object around its grounds. -Raul Zamudio

Sugar and Spice and Everything Nice (that's what little girls are made of)

2006-07-13T23:18:00.000-04:00

Sugar and Spice and Everything Nice [other info. below] "This sequel to last falls "Snakes and Snails and Puppy Dog's Tails" offers some wry and kinky stuff by a bunch of tough girls...."- Kim Levin, The Village Voice, June 4, 2002

2006-07-13T23:15:00.000-04:00

Sugar and Spice and Everything Nice [other info. below]

2006-07-13T23:12:00.000-04:00

Sugar and Spice and Everything Nice Curated Raul Zamudio Nikolai Fine Art, NY NY May 9- June 15, 2002. Artists: Elizabeth Cohen-Cornford & Cross-Nicola Costantino-Annie Ferrer-Karin Gusti-Claudia Huidobro-Tina La Porta-Teresa Margolles/SEMEFO-Emma McCagg-Lindsey Nobel-Michele Ohana-Cole-Teresa Serrano-Jeanne Susplugas- Dana Wyse

Lost in Space

2006-07-13T23:03:00.000-04:00

Lost in Space [other info. below]

2006-07-13T22:58:00.000-04:00

Lost in Space [other info. below]

2006-07-13T22:55:00.000-04:00

Lost in Space Curated by Raul Zamudio Gary Tatintsian Gallery, NY, NY November 12-December 20, 2001. Artists: Bik Van der Pol-Cleverson-Nicola Costantino-Stuart Croft-Scott Lifshutz-Emma McCagg-Luis Felipe Ortega-Franco Mondini Ruiz-Javier Tellez-Sari Tervaniemi- DanielZeller/NewYork A broad spectrum of international artists who work in a variety of media, converge in this exhibition, on the concept of space and its perception as neutral or value free. This notion, however part of a general consensus, has nonetheless been perceived along particular ways that evinces specific biases. The Renaissance theorist Leon Battista Alberti, for example, conceived perspective in painting as a window into pictorial space. Since seeing out a window into the world was thought to be natural, then basing a theory of painting on a perspective model would prove its universality. Other viewpoints dismantle this window by conceiving space in different terms. The artists in the exhibition use space idiosyncratically as their narrative point of departure in addressing space in myriad ways- Raul Zamudio

Rayuela [Hopscotch]

2006-07-13T20:11:00.000-04:00

Rayuela [Hopscotch] [info. below]

2006-07-13T16:08:00.000-04:00

Rayuela [Hopscotch] [info. below]

2006-07-13T15:55:00.000-04:00

Rayuela [Hopscotch] curated by Raul Zamudio Kean University Elizabeth, NJ October 9- November 10, 2001. Artists: Alejandro Balteo,
Cleverson Diego, Fernandez, Pablo Helguera, Cristobal Lehyt, Adriana Miranda, Angel Nevarez, Miguel Angel Rios, Franco Mondini Ruiz, Teresa Serrano, Javier Téllez, Johana Unzueta This exhibition takes as its theme the novel Hopscotch by Argentine writer Julio Cortazar. The novel is structured in the conventional sense in that it can be read from beginning to end; yet at the end of each chapter a number corresponds to another chapter not in chronological order. It can thus be read sequentially in disregarding the author’s non-linear schema, or by following the numbers at the end of the chapter, or by starting any chapter and proceeding until one finishes the chosen sequence. Hopscotch allows the reader the liberty to peruse the book in whichever way he or she chooses, and in doing so, is crucial for the work’s artistic closure. Cortazar’s structuralist strategy is what also underscores Hopscotch the exhibition- Raul Zamudio

Bik Van der Pol: Loompanics

2006-07-13T15:42:00.000-04:00

Bik Van der Pol/Loompanics Curated by Raul Zamudo White Box, NY, NY June 14-July 26, 2001. The window of the gallery will serve as window vitrines and advertising space for Loompanics, a subversive publisher, with a stocklist that rubs against the borders of criminal acts. http://www.whiteboxny.org/prog_list/prog_list14.html

The Parallax Hotel

2006-07-13T11:54:00.000-04:00

The Parallax Hotel Curated by Raul Zamudio FRERE NY Independent Art Fair
NY, NY
November 12-15, 2000

Artists: Bik Van der Pol-Stuart Croft-Dominic McGill-Teresa Serrano
Javier Tellez (Link to Stuart Croft video): http://www.luxonline.org.uk/aem/lol/stream.jsp?id=1167396

2006-07-12T21:46:00.000-04:00

2006-07-12T21:39:00.000-04:00

This passage: Leonardo DiCaprio and Gisele Bundchen were spotted riding their bicycles on West 13th Street near Sixth Avenue and nearly running over Parsons teacher/curator Raul Zamudio, was culled verbatim from the "sightings" section of NY POST PAGE SIX that graced its pages on 6/17/05 and now can be found on PAGE SIX and a Leonardo de Caprio paparazzi website: its webpage: http://www.abstracts.net/leonardo-dicaprio/2005-06.html

If it was to make the NY POST front page, I thought about possible headlines: Model Crashes Into Paradigm, The Accidental Director?, Curator Turns Actor into Actionist, The Bicyclists and the Bicycle Wheel, First The Titanic and Now This!?, Gangs of Greenwich Village, Low meets High Culture, But Which Is Which?....