'THE STORE' CURATED BY ADAM CARR AT ARTISSIMA TURIN

THE STORE
Curated by Adam Carr

With and stocking works by: Olivier Babin, Nina Beier, Pierre Bismuth, Stella Capes, Tomas Chaffe, Etienne Chambaud, Jason Dodge, Gintaras Didžiapetris, Claire Fontaine, Ryan Gander, Liam Gillick, Loris Gréaud, Arunas Gudaitis, Henrik Plenge Jakobsen, Gabriel Kuri, Juozas Laivys, Flávia Müller Medeiros, Darius Mikšys, Jonathan Monk, Paola Pivi, Dan Rees, Yann Sérandour, Dexter Sinister, Andreas Slominski, Ron Terada, Mungo Thomson, Mario Garcia Torres, Bedwyr Williams

And other people's projects: Top 100 by Davide Bertocchi; Dot Dot Dot by Dexter Sinister; Lester & Malasauskas by Raimundas Malasauskas & Gabriel Lester; Old News organised by Jacob Fabricius; illy Art Collection; PAPERWALL by Galleria Sonia Rosso

Picking up from where it previously took place (Gallery Tulips & Roses, Vilnius in 2008), THE STORE takes as its starting point its intended location – Artissima, Turin – and its occasion – a contemporary art fair – to form a celebration of the art object while aspiring to provide critical reflection on the manner by which it operates in the eyes of the art market. Both creatively and ironically, THE STORE sets out to address, challenge, and offer light relief to the current day forces placing pressure on worldwide economies and in turn the art market and its status.

All of the artists included in THE STORE have been invited to participate with works that will available to the general public. The result is an inventory comprising artwork by over 30 international artists, as well as projects curated by other people, all of which can either be purchased at relatively small prices or be taken away for free. Vitally, all of the pieces included are premised on, or contain characteristics of, the liberal and open-ended conditions by which they are available. THE STORE, therefore, makes available artworks by artists whose work is usually conserved in private galleries or art fairs for a selective few, and in doing so provides a new experience not only within commercial art fairs but also for exhibition visiting entirely. Interestingly, by making purchases from the goods on offer – selecting a pair of keys, a poster and not say a slice of a cake and/or a napkin, for example –viewers will in effect be curating their own shows which they can away with them. This shifts the role of the spectator into consumer and active participant, and in response to their activity, THE STORE will be subjected to perpetual change, order and reorder – altering both its form and meaning. THE STORE will be housed in a purpose built construction that will take and play on aspects synonymous with a store and its associated design elements will do so as well.

Adam Carr is an independent curator and writer currently based in London.

ARTISSIMA 16
THE INTERNATIONAL FAIR OF CONTEMPORARY ART IN TORINO
NOVEMBER 6 - 8, 2009 / LINGOTTO FIERE
Open to public 12.00 — 8.00 pm
Press conference and preview, November 5 - 12.00 pm / Vernissage, November 5 - 6.00 pm
http://www.artissima.it/

'IN SEARCH OF JOSE IVANILDO' BEING SHOWN AS PART OF 'SINGULAR MULTITUDE: THE ART OF RESISTANCE' AT REINA SOFIA, MADRID

'In Search of Jose Ivanildo', Pablo Leon de la Barra, video on DVD, 30 minutes, 2004


Multitud Singular: El arte de Resistir
14 de octubre – 12 de diciembre
Museo Nacional Centro de Arte Reina Sofia, Madrid

Al igual que cualquier registro sobre movimientos revolucionarios, Multitud Singular: El arte de resistir tiene una larga historia. Y, al igual que cualquier proceso revolucionario, es incompleto, porque el esfuerzo necesario para llevarlo a cabo siempre es mayor que los logros obtenidos. Durante los dos años invertidos en el proyecto, los cambios han sido constantes: se han producido películas nuevas, se han escrito nuevos libros y, de pronto, vivimos en un tipo de sociedad diferente donde la escasez sustituye a la abundancia.

Las primeras conversaciones sobre este proyecto se remontan a 2007, cuando la artista Perry Bard, afincada en Nueva York, sugirió que organizásemos conjuntamente un programa de cine que examinara las relaciones entre arte y política según la configuración de la sociedad actual. Su idea inicial de “películas para la ciudadanía” –que en términos generales puede entenderse como una denuncia de los ataques a la dignidad fundamental del hombre y de las relaciones entre activismo y poder– fue una especie de premonición del caos financiero a punto de extenderse por todo el mundo.

En efecto, los recientes y dramáticos acontecimientos han dejado claro que una economía en peligro puede vulnerar directamente derechos sociales y laborales. Multitud Singular: El arte de resistir pretende asomarse a nuevas formas de pensamiento sobre la idea de revolución, la idea de activismo y la idea de que actualmente tenemos que buscar nuevas estrategias de salida cuando los recursos son escasos. Reúne una ecléctica selección de obras mediáticas: películas independientes y experimentales y vídeos exploratorios, muchos de ellos creados para galerías de arte y museos. Estas obras responden al deseo de sus autores de investigar las ilimitadas posibilidades existentes en los lindes del gusto oficial y las circunstancias político sociales del presente, mientras rememoran sucesos, revelan traumas, median en el recuerdo y producen contraimágenesen el arte y la sociedad contemporáneas.

De modos distintos, la mayoría de los filmes seleccionados se centran en la idea de la insurrección y son ejemplo de la singularidad de esos movimientos, capaces de movilizar a personas o a grupos de personas para apoyar su causa “singular”. También muestran la no linealidad de cualquier movimiento que busca el cambio y ponen de manifiesto la irregularidad de los procesos revolucionarios. Por último, junto al programa audiovisual, el alcance de Multitud Singular: El arte de resistires también el de un proyecto multidisciplinar –que incluye conferencias y una performance producida ex profeso–, que expone declaraciones en una esfera pública, situada más allá del espectáculo de los medios de comunicación y que indica cómo los movimientos colectivos son quizá una de las pocas opciones que nos quedan si queremos asomarnos al presente. (B.S.)

http://www.museoreinasofia.es/programas-publicos/audiovisuales/multitud-singular.html

HECTOR ZAMORA GOES BANANAS IN BOGOTA!

Hector Zamora's public art project in two buildings in Bogota

Hector Zamora
Delirio Atopico (Atopic Delirium)
Year: 2009
Technique: 14000 kg of plantains
Exhibition: Lugares Comunes
Place: Plaza comercial San Victorino and Edificio Monserratte – Bogotá – Colômbia
In Delirio Atopico, Zamora selected two buildings with transparent glass façades situated on Jímenez Avenue in downtown Bogotá, Colombia. Although the buildings are separated by a mere few hundred meters, each one faces dramatically different socioeconomic realities. The project intended to interrupt the urban landscape with an unexpected intervention in each of the buildings, cramming one of their levels from floor-to-ceiing with plantains. Over the course of 20 days the color of the fruits changed from green to yellow, to brown to black; their final state of decomposition. The use of the plantains, one of the staples of the Colombian diet, in an intervention in the city center stirred up political, social and cultural resonances for locals witnessing the piece.

photos by PLB text from Hector Zamora's website: http://www.lsd.com.mx/proyecto?id=69

PORNOCOCAS IN BOGOTA!

FEMINIST REVOLUTION IN BOGOTA: CAROLINA CAYCEDO 'NEITHER GOD, NOR BOSS, NOR HUSBAND' AT LA CENTRAL

cleaners of the building admiring Carolina's work


Katy Hernandez holding Carolina's Venezuelan resistance flag


Katy Hernandez, Don Edgar the technician and Beatriz Lopez


Revolutionary Machete


Nelcy's (Katy's mother) geometrical op mini sandwiches


art consultant Ana Sokoloff wearing the 'Ni Dios, Ni Patron, Ni Marido' T-Shirt

'ABSTRACT REALITY' COOPERATIVA INTERNACIONAL TROPICAL AT LA OTRA IN BOGOTA

view's of Cooperativa Internacional Tropical space at La Otra


(ABASTRACT) by Stefan Bruggemann, skillfully made neon in Bogota!


Eduardo Consuegra. Reframed Colombian Magazine's from the 80s. 'Planet of the Apes', 'V', and 'Johnny Walker'


Felipe Mujica, silkscreen on cardboard. 'Escuela de Verano', logo for the 1968 Summer School in Santiago, Chile, and 'Philips Sun' light bulb packaging with old Philips logo blown up


Los Super Elegantes in Athens, Greece. The photograph being exhibited in Bogota, the Athens of Latin America!


Jesus 'Bubu' Negron, drawings of his real life job as a gardener


Chemi Rosado's 'History on Wheels (Humberto Eco-Historia de la Belleza)'

Carla Verea, photographs of Guatemalan bodyguards


Carla Zaccagnini, 'Museu das Vistas'. 'Museu das Vistas' consists on a mechanism for constituting a collection of drawings mediated by discourse. These drawings are made by police artists, according to descriptions of views provided by any person willing to take part on the project. Each of these drawings is made on auto-copying paper; the original graphite drawings are given to describers while the Museu das Vistas collects the blue copies on yellow paper.


Tania Bruguera, 'Untitled', Bogota, 2009
a table, a chair, pens, a poll box, four questions for the visitors to answer:
1. What is your personal concept of a heroe? (Describe the characteristics and conditions he/she must have)
2. Why and for what does the figure of the heroe exist?
3. What is the difference you think exists between a leader and a heroe?
4. Do you think the figure of the heroe is possible in Colombia today?





visitor answering Tania Bruguera's questions


Carolina Caycedo, 'Don't Pay Taxes' banner


Colombian conceptual artist, Maestro Antonio Caro, in front of Carolina Caycedo's banner


Julieta Aranda, most powerful woman in the art world! Ranked no.8 according to Art Review's Power 100


Beatriz Lopez, toilet paper ribbon, ready-made


artist and collector Artemio, new owner of Beatriz Lopez toilet paper roll-ribbon for $666 US dollars!

PIA CAMIL'S EXHIBITION MACHINE FOR JULIO LE PARC'S WORK AT LA CENTRAL'S BOOTH IN BOGOTA ART FAIR

Beatriz Lopez


Pia Camil with Kiki Mazzucchelli


Pia Camil is a visual artist who takes drawing as a point of departure for her installation work. Through her installations Camil explores basic approaches to architecture with the purpose of destabilizing the dialectic relations within the private and public, formal and functional, vernacular and artistic.In some instances those installations are perceived as changeable objects; experimental studies that often establish new and unexpected spatial perceptions. For La Central's booth in the Art Fair of Bogota, Pia has proposed to establish a conversation with Julio Le Parc´s work in order to draw new communicating channels between modern tradition and her work.

The booths white monochrome walls are an instruction painting by Federico Herrero.

The Central is a mutant, independent and mobile, international art office in Bogota, whose desire is to serve as a platform for artists, cultural operators and institutions, international and local efforts. The program seeks to enhance the Central discussion of contemporary aesthetics operating outside the predictable patterns of world art and dissolving the boundaries of creation, with emphasis on the experience of the artist on their production.

http://www.lacentral.com.co/