Thursday 28 February 2008

Friday 22 February 2008



Dates: 29 February – 3 March 2008
Preview: Friday 29 February , 18:00 to 24:00
Venue: Loto Arte, Via Civinini, 41 - 00197 Rome
Opening hours:
Friday 29 February 18:00 to 24:00
Saturday 1 February 9:30-14:00 and 15:00 to 24:00
Saturday 2 March 9:30–14:00 and 15:00 to 19:30
Monday 3 March 9:30–14:00 and 15:00 to 19:30

THE UNFAIR FAIR adopts an economy of form and means, where disintegration, experimentation and the poetics of play are emphasised over commodified products and the market economy.

THE UNFAIR FAIR is a space for distanciation, for experiments, for collaborations. The aim of the event is to show the process of artistic productions and transitional art works that index broader practices by each of the invited artists. THE UNFAIR FAIR will find its final shape during the course of its development, allowing flexibility and contradictions, adapting itself to the projects proposed by the artists and the participants.

THE UNFAIR FAIR brings together over 50 international artists. A special exhibition set and display will be created by German artist Wolfgang Berkowski.

Further info:

Current list of artists (subject to change)
Caroline Achaintre
Nina Jan Beier & Marie Jan Lund
Walead Beshty
It's our pleasure to serve you (Kerstin Brätsch, Allison Katz, Georgia Sagri, Adele Röder)
Susanne Burner
Teresa Buskova
Etienne Chambaud
Nicolas Chardon
Jason Dodge
Claire Fontaine
Iain Forsyth & Jane Pollard
Mauricio Guillen
Alban Hajdinaj
Bethan Huws
Bettina Buck
Benoît Maire
Charlotte Moth
Guillaume Pinard
Falke Pisano
Navin Rawanchaikul
Lili Reynaud-Dewar
Manuela Ribadaneira
Jacopo Miliani
Italo Zuffi
Eléna Nemkova
Ra di Martino
Massimo Grimaldi
Carla Zaccagnini
Georgia Kostretsos
Christodoulos Panayotou
Stanislao di Giugno
Alessandro Piangiamore
Sandrine Nicoletta
Stefania Galegati
Magnus Thierfelder
Artemis Potamianou
Francesco Arena
Maria Birgita Karantzi
Allsop + Weir
Alessandro Sarra
Federico Pietrella
Rossella Biscotti
Giuseppe Pietroniro
Kostis Velonis
Isola e Norzi
Dane Mitchell
Nico Dockx
Christian Proano
Gregor Passaens
Richard Crow
A Constructed World
Andrea Salvino
Bik van der Pol
Carl Trahan
Cesare Pietriusti
Cindy Smith
Valentino Diego
Domenico Mangano
Gea Casolaro
Pernille Kapper Williams
Rene Gabri
Richard Aldrich
Ursula Mayer
The Metropolitan Complex
Jacob Dahl Jürgensen
Johan Tirén

Produced by 1:1 projects
in collaboration with Ines Musumeci Greco, Loto Arte
Curators: Cecilia Canziani and Vincent Honoré
Communication and Production: Athena Panni
Catalogue and Blog Editor: Louise Garrett
Catalogue Designer: Wolfgang Berkowski

Tuesday 19 February 2008


Greek Prime Minister Kostas Simitis (left) shaking hands with Dragan Covic, the Croat representative of the Bosnia and Herzegovina presidency. Athens, January 15, 2004

Blow de la Barra is pleased to invite you to the opening of the exhibition


Private View: Thursday, February 21, 2008, 6:00 to 8:30 PM
Afterwards join for us at the Centre for the Aesthetic and Intellectual Revolution, The Red Lion Pub, 14 Kingly Street W1

The exhibition will remain open until March 29, 2008
Gallery hours: Tuesday to Saturday, 10 AM to 6 PM

Still showing:
A one year solo show by Matthieu Laurette at Blow de la Barra
January 1 to December 31, 2008
Different works will be presented at different times during the year
and will co-exist on and off site parallel to Blow de la Barra's exhibition programme.

Blow de la Barra is participating in the following Art Fairs:
CIRCA, Puerto Rico, April 11-14, 2008
MACO, Mexico, April 23-27, 2008

Blow de la Barra, 35 Heddon Street-2nd Floor, London W1B 4BP
+44 (0)20 7734 7477

Sunday 17 February 2008


Lorca's family house at the Huerta de San Vicente in Granada

Dominique Gonzalez Foerster carpet for Lorca

Sarah Morris painting

house tiles

house interiors

Lorca's bed with Rivane Neuenschwander's Fantastic Birds (bedspread)

Gilbert & George's 'In Bed with Lorca', Roni Horn's 'Ceramic vases'
and Rivane Neuenschwander's modified typewriting machine and paper

house grilles repainted by Philippe Parreno

In Granada, trio of curators: Maria Ines Rodriguez, Beatrix Ruf, Hans Ulrich Obrist

EVERSTILL, an exhibition in memory of Federico Garcia Lorca
curated by Hans Ulrich Obrist
Casa Federico Garcia Lorca, Huerta de San Vicente, Granada

Over 30 international artists will create new works for a major three-part exhibition at the Federico García Lorca House, the Huerta de San Vicente in Granada, Spain. Hans Ulrich Obrist, has invited a selection of artists to interact with the celebrated Spanish poet’s life and verse in order to produce a series of unique works. The project, with the title everstill/siempretodavía created by Scottish artist Douglas Gordon, will begin at Lorca’s House, the Huerta de San Vicente on 24 November 2007.

The artists are: John Armleder, John Baldessari, Devendra Banhart, Bestué & Vives, Leonora Carrington, Paul Chan, Tacita Dean, Democracia, Trisha Donnelly, Gilbert & George, John Giorno, Dominique González-Foerster, Douglas Gordon, Roni Horn, Cristina Iglesias, Koo Jeong-a, Arto Lindsay, M&M, Jorge Macchi, Enrique Morente, Sarah Morris, Rivane Neuenschwander, Philippe Parreno, Pere Portabella, Pedro Reyes, Anri Sala, Cy Twombly, Enrique Vila Matas, Franz West and Cerith Wyn Evans.

Participating artists have been invited to immerse themselves in Lorca’s world. They have visited Huerta de San Vicente, where the poet lived and died, met family members and read his writings. The resulting works are the products of personal connections established between each artist and the poet, and serve both as tribute and subtle conversation.

The project comprises three phases: the inaugural exhibition will open on 24 November 2007, at Huerta de San Vicente; the second in May 2008; and the final phase will begin in September 2008 at the Residencia de Estudiantes in Madrid. All the works produced by the artists will be compiled into a special publication for the Madrid exhibition.

Everstill/siempretodavía is part of a series of exhibitions which Hans Ulrich Obrist has curated since 1992 in the homes of cultural personalities, including the architect Luis Barragán in Mexico City, the philosopher Friedrich Nietszche in Sils Maria and the architect Sir John Soane in London.

Thursday 14 February 2008


Stefan Bruggemann, 'Tropical Critique', graffiti on wall, dimensions variable, ed. of 3 +1 AC, 2003/2008 (plants not included)

Marjetica Potrc, 'Modernism takes Root', series of 9 framed drawings, ink on paper, 2007

Federico Herrero, Untitled, mixed media on canvas, 2x3 mts, 2007

Marcelo Krasilcic, 'Guaraja' video, and photographs

Marcelo Krasilcic, photographs, 2003-2007

Ikea tables and chairs, total value, 50 euros

tropical precarious garden, decoration purposes only

view of the stand

Carla Machado, Brasilian muse, visits the stand

Carla copies the positions of Marcelo photographs, here she does the Marcela

Carla does the Guilherme position

Carla stretches like Marcelo's father

Vanessa Arelle and Rodman Primack

Rudy strikes a pose!

Tuesday 12 February 2008


Screening: Andy Warhol’s Kiss. Date: 14.02.2008 Time: 7PM London; 8PM Rome; 9PM Oporto
Place: London, Bistroteque, 23-27 Wadeson Street, London, E2 9DR
Rome: 1:1 Projects, Piazza Scipione Ammirato 1/C, Roma
Oporto: Espaço Gesto, Rua Cândido dos Reis, 64 - 4050-153 Porto
Barcelona: Centre d’Art Santa Monica, La Rambla 7, 08002 Barcelona

It all started like this:
from: Filipa Ramos
to: “Pablo León de la Barra”, “cecilia canziani”, “Adrienne Drake”, “Carla Cruz”, "Ortega Lopez, Antonio", “Athena Panni”, “Francesco Ventrella”
date: Jan 14, 2008 9:10 PM
subject: Kiss, Andy Warhol, from Filipa
Dear all,
I am thinking of organising a screening of Andy Warhol's film Kiss in several different locations on the same day, which is the 14th of February, normally known as Saint Valentine's day. It has become an awful event, crowded with silly red and pink hearts that invade the shops and the streets of almost every Ocidental town. However, it is a beautiful event, celebrating love in its most simple and immediate form.
What I am trying to do is to purpose to some people that I consider dear friends, and with whom I have worked before, to develop this project together with me, in a way that this screening could be done in several different cities on the same day.
I think it is something quite simple to organise and that it can become a really nice event, not only because most of the people talk a lot about Warhol's films but very few has had the chance to actually see them, but also because it is an incredibly touching piece that analyses the act of kissing in a very conceptual and modern way, without destroying its romantic and emotional side.
Please let me know what do you think of this idea and if you are interested in being part of it.
Hope all of you are well and that the new year has started in the best possible way!
Love (and Kisses!) Filipa

And it goes like this:
Kiss consists of a series of short, silent, black and white films in which 13 couples kiss each other. Andy Warhol took more than one year to shoot the film, between August 1963 and the end of 1964, in several different locations.
Kiss signs the start of some long term relationships between Warhol and some of the members of the cast. Such is the case of Naomi Levine (Warhol’s "first female superstar") or Gerard Malanga (who became the artist’s manager during the second half of the 1960’s); others include the art critic Pierre Restany, Ed Sanders (lead singer of the Fugs), Rufus Collins (a member of the experimental group of the Living Theatre), the Venezuelan artist Marisol and the American painter Charlotte Gilbertson.
Several segments of Warhol's Kiss film(s) were shot in Naomi Levine's apartment. In fact, the first Kiss scenes (that included Naomi kissing Ed Sanders, Rufus Collins and Gerard Malanga ) were originally known as the ‘Andy Warhol Serial’ and were first shown at the Grammercy Arts Theater in September 1963.
According to the Village Voice’s critic Bob Colacello, the idea for Kiss came as a reaction to The Production Code (an American regulation, in force from 1930 to 1967, that enumerated the decent general principles for movies), which stated that films could not show actors kissing for more than 3 seconds.
Independently of its history, Kiss is a fantastic example of Warhol’s early movies, in which he uses his 16mm Bolex camera to create films that explore length and stillness, though a hard process of editing all the short movies.
At the same time, its minimalist and conceptual depicting of the romantic and deep act of kissing creates a work that gives us a constant tension between a cold perception of the couple’s act of kissing and an unavoidable feeling of involvement.

(first part): Naomi Levine & Ed Sanders; Naomi Levine & Rufus Collins; Naomi Levine & Gerard Malanga; (second part) Baby Jane Holzer & John Palmer; Baby Jane Holzer & Gerard Malanga; John Palmer & Andrew Meyer; Freddy Herko, Johnny Dodd, Charlotte Gilbertson, Philip von Rensselaet, Pierre Restany, Marisol;B&N;
USA, 1963, 58

Monday 11 February 2008


kunsthalle bern, exterior and interior

Stefan Bruggemann's Black Box, exterior and interior

'Conceptual Decoration' Wallpaper

Black Box
Kunsthalle Bern
09.02. - 20.04.2008

The works of Mexican artist Stefan Brüggemann (°1975) are devised to create a polemic.

Not a polemic about language, as might be expected having the many text pieces in mind, but about pictures. Brüggemann is interested in ‘Words That Become Pictures’ and ‘Pictures That Become Words’. In this way he questions the idea of transferring or mirroring information. Language becomes a way of remembering, of reflecting and refracting events. His laconic picture-signs act as memorials to ‘language that must be reactivated’. They create imaginary spaces or experiences for the audience invoked by words. These spaces are produced through the individual act of looking, and each look is always new, notwithstanding the familiarity of the statement. Indeed, it is precisely the intelligibility of the text, which allows the viewer to formulate an experience, since the artist intends no ambiguity. Brüggemann’s words are his, though the resulting images are not controlled by the artist, but by the viewer in the act of perceiving, remembering and creating anew for themselves.

For his exhibition at the Kunshalle Bern, Brüggemann proposes a large, walk-in ‘black box’ located at the core of his presentation of selected wall-texts from his prodigious output over the past decade. The black box is ‘basically just output, with no input’, as Brüggemann observes. Yet it is, of course, something, which is not nothing, in spite of any effort to ensure that it might be otherwise. It is as abrasively insistent, contrarian and self-defeating in its address and effect.

The show features two works from a recent series called Obliteration. The scribbled neon text is a gestural analogy to writing and un-writing. From the negative of the word and the event of writing, to the idea of denial as an absolute and autonomous power, the Obliterations feature the concept of ‘no’ as an empty, powerful, independent and fruitful source, that articulates in its various manifestations concepts such as rejection, non-conformity and absence. One of Stefan Bruggemann´s principal strategies is to inject pop sensibility into conceptualist strategies. In their implicit denial of language these lights represent both the search for new grounds, and the impossibility of the very same. Charged with the destructive nature of punk, Obliteration Series constitutes a double negation.

In Cinématte Brüggemann presents “A Production of Nothing” (2006), a short film that considers the condition of productivity and of un-productivity, as well as the meaning of the activity of doing nothing and its countless possibilities. This work, that has an awkward bi-polarity between what is seen and what is heard, establishes an almost contradictory relation between a strong cinematic imagery and the deeply conceptual and reflexive ideas expressed through the narrators voice. On one hand, the film depicts scenes that could belong to an element of mass culture, such as a video clip or an advertisement. One the other, it deals with deep philosophical concerns that could be related to Derrida's deconstructive ideas on nothingness.

The soundtrack, created by the Barcelona based dj and music producer Cristian Vogel, is made through the recording of the white noise produced when no sound instrument is connected to a mixing table. This is the same soundtrack as the one heard inside the Black Box exhibited in the Kunsthalle.

In dealing with these two elements at the same time, popular culture and intellectual reflections, Brüggemann uses a medium that is rarely seen in his praxis to explore similar ideas to the ones expressed in most of his work.

A book focussing on the recent work of Stefan Brüggemann, edited by Nicolas de Oliveira and with texts by Chris Kraus, Caomhín Mac Giolla Léith and Michael Bracewell will be published by JRP/Ringier

The exhibition is a collaboration of the Kunsthalle Bern and Frac Bourgogne in Dijon and benefits the support from the Mexican Embassy in Bern, Cinématte Bern and Blow de la Barra Gallery, London.