miercuri, 15 octombrie 2014

Rare Opportunity to Acquire Matei Serban's New Work

The "Grand Circus" series of Matei Serban will be displayed for five days at Pleshoo Contemporary.
The purpose of this event is to introduce few new small works of Matei in the context they've been created, as part of The Grand Circus theme. 
Therefor we gladly invite the public to visit the gallery daily between 6 PM-10 PM.
This show focuses on committed buyers, collectors and business professionals. 
Price ranges:
 6.500 -12.000 euro for the large format paintings
 800 - 1.500 euro for the small new one
100 euro for the limited edition print on canvas signed by the author 

duminică, 5 octombrie 2014

Five Rules for Viewing a Gallery

The trigger of this article is our recent show at ArtXpert. Being sick and tired of people coming to visit the gallery just because, sometime we offer good quality wine and service, and not because they really have a strong interest in the artist displayed we decided to share with those five steps when you visit a gallery:
1. Take Time
… lots of it, because you’ll need it. The most important thing when visiting a museum is to see as much artwork as possible, since, let’s be honest, you don’t manage to go that often, do you? Yeah, didn’t think so.

The best way to ensure that you see enough art is to set an Instagram quota for yourself for the day’s visit. Think about how many photos you posted on your last art outing and try to up the number by some reasonable amount, like 10. Bonus points if all the photos are selfies, but keep in mind that this might be difficult to achieve if you don’t have enough selfie experience. Maybe try starting with a selfie with every work in one specific gallery, for instance. Be aware of your strengths and limitations, and of those of your Insta followers. #awesome
In order to leave yourself enough time, line up at the entrance to the museum at least half an hour before opening time. Plan to spend the entire day with frequent breaks and trips to the various cafes and restaurants within the institution, since food is the new art anyway. Make sure to Instagram those meals, too — your warm goat cheese and toasted walnut salad alongside your favorite newly discovered Minimalist sculpture might make make for a slightly ironic but also intriguing visual comparison.

2. Bring a Friend
For art critics, the way to process art is through writing; for laypeople, it’s through talking. Bring a friend or a date to help you talk your way through whatever art you’re planning to see — conversation in front of a painting inevitably produces fresh insights. If you can’t find an equal, think about bringing a child, either your own or one borrowed from a friend. You’ll be amazed at what thoughtful art viewers kids can make.
If that’s not an option either, visit alone but plan to be bold and make acquaintances (famous artworks are best for this: there’s always a crowd around the “Mona Lisa”). This has its advantages: strangers can offer perspectives you might never even dream up — plus, you never know what might happen. A long, involved, unbelievably romantic story of how you met your future spouse while seeing art will make for a great entry on your future wedding website.

3. Go with an Open Mind
And by that I mean really open. Some people say you have to read and learn about art to understand it, but that’s really only if you’re a critic or an academic. Everyone else (the lucky bastards) gets to just see and experience art, rather than having to think about it so hard. If you’ve looked at the work and still want to know more, read the wall label. If that’s not enough, you could consider a docent-led tour, definitely a good way to meet people and engage in conversation.
But there are more interesting and original ways to open yourself up to art and commune with it. Try talking to the work, or moving around in front of it, letting your limbs lead you into a freeform improvisational dance. If you see a vibrant red and it inspires lust, run with it. Find a way to express the feelings the art stirs within you before, like everything else, they’re gone.
Later, when the museum’s about an hour from closing time, visit the gift shop. Try to find the mouse pad, calendar, umbrella, watch, or water bottle that most embodies your experience that day, and buy five of them: one for you, four to share with your closest friends who really get you.

4. Don’t Worry Much about Remembering Things
Back in the day before the internet, people had to remember any and everything they thought was worthwhile — texts, how to cook a chicken, their age, etc. Now that the digital blessings of computers and smartphones have been bestowed upon us, we’re able to free up that memory space for day-to-day minutiae, like whether or not we forgot to turn off the stove last night.
The same applies to art: it used to be you had to remember the names of specific pieces and artists you like, but thankfully now it’s all just a Google Image search away! Instagram also comes into play here: the more photos of artworks you post, the fewer you’ll have to remember. This is also why it’s good to visit with a friend — if you can’t remember enough to get a solid Google/Google Image search going, just text them. Between the two of you, you might just be able to figure out who made that immersive installation filled with found trash, flickering lights, and taxidermy that you took selfies in and what it was called.

5. Seek Out Art that Fits Your World View
These days there’s so much art being made and shown, it can be hard to know where to start. I find it’s always good to seek out art that reflects your own ethos and approach to life. Art can be many things, but it’s probably most effective when it’s a mirror — either literal or figurative — reflecting yourself and your ideas back at you. If you’re into abstract art but find its politics hard to decipher, just look at the institution that’s showing it and you should get some answers.
Some say art is meant to be beautiful; others argue it should seek to enlighten or enliven. It doesn’t really matter what camp you’re in as long as you’re in one. Seeing art is worthless until you walk away with four things: a story to share about your experience, an opinion about what it meant, a larger lesson to draw from it, and at least one Instagram. This is how you effectively view art in the age of social media.

marți, 30 septembrie 2014

UK Copyright Law Gets Exception for Parody

 by Jillian Steinhauer

A series of updates to UK copyright law are scheduled to go into effect tomorrow, finally allowing for the use of copyrighted material in the creation of parody, the BBC reported. The country’s copyright law does not currently include a fair use (“fair dealing,” in British parlance) exception for satire, an omission that’s left many artists, musicians, and others vulnerable to legal action.
One of those artists is Miriam Elia, who, upon release of her parody children’s book We Go to the Gallery earlier this year, faced a slew of legal threats from Penguin UK, the publisher of the original book series on which Elia modeled her work. Elia says Penguin finally backed off after she stopped replying to the company’s “endless threatening letters.”
In theory, her work should be protected by the new law, which states specifically that “fair dealing with a work for the purposes of caricature, parody or pastiche does not infringe copyright in the work.” Asked about the exception, Elia told Hyperallergic, “I would say the law change is a great leap forward for the art of satire.”
But, as she and others have also pointed out, the update is far from comprehensive. There’s no change, for instance, to the status of “moral rights,” under which a copyright holder can object to “derogatory treatment of the work.” This provides plenty of ground for lawsuits, whose outcomes will be determined by judges ruling on whether the works in question meet the legal standard of a parody. The International Business Times (IBT) explains:
Judges presiding over parody court cases will have to refer to a ruling by the European Court of Justice (ECJ), which on Sept. 4 defined parody for the first time. Under that definition, a parody has to “constitute an expression of humor or mockery.”
Ciara Cullen, a senior associate at the London law firm RPC, said that subjective definition will leave much to the individual tastes of U.K. judges.
Elia echoed these concerns in her email to Hyperallergic: “Will the judge laugh at the work? What if the jury find the work funny, but the judge doesn’t? Will we need specialist comedy courts for future infringement cases?” (Maybe not such a bad idea.)
Speaking to IBT, one half of the English music and comedy duo Cassetteboy noted as well that although parody will be allowed under the new law, mashups still won’t be (unless they’re funny). US law, on the other hand, identifies fair use based on four tenets including “the purpose and character of the use,” which is commonly understood to be the extent of the transformation from the original.
source hyperallergic.com on sept 30

marți, 16 septembrie 2014

LA Apartment Galleries - a New Trend in Town

LOS ANGELES — The contemporary art world often seems to be on a super-sized trajectory, with the rise of mega-galleries and record-setting auction prices all the rage. Alongside this bigger-is-better mindset, there is a competing approach that favors the humble, the personal, and the DIY, from artist-run spaces, to backyard performance art, to micro-galleries. One of the newest additions to this group is Del Vaz Projects, an apartment gallery and residency project located in Los Angeles’ Little Osaka neighborhood (it’s west of the 405, not to be confused with Little Tokyo). Over cups of tea and plates of dates and almonds from a local Iranian kosher market, we sat down with Del Vaz’s founder Jay Ezra Nayssan to get the lowdown on the new space, why he started it, and his ideas about art.
Nayssan’s enthusiasm for contemporary art is clear when speaking with him, but he originally came to the art world as an outsider. A native Angeleno, he studied anthropology and business and now works in his family’s construction and development firm by day. In 2012, he got his first opportunity to organize an exhibition, co-curating Synesthesia, a group show at LA’s M+B with Daniele Balice of Paris’ Balice Hertling Gallery. Last winter he organized a residency for French artists in LA and this past summer he offered French artist Lucile Littot a cottage, which was slated for demolition, to exhibit her work.

 Jan Ezra Nayssan at Del Vaz Projects, in front of work by Benjamin Phelan and Spencer Longo 

The decision to open a gallery in his apartment was the result of a fortuitous setback. What became his inaugural show was originally scheduled to open at a New York gallery this fall, but was eventually postponed until early 2015. Unable to sit on the project for four months, he decided to hold the exhibition in his new apartment and Del Vaz was born. The name comes from the Farsi phrase dast-o-del vaz meaning “open-handed and open-hearted,” and it speaks to the informal and collaborative atmosphere that Nayssan hopes to foster. He intends to open the space up to artists, writers, and curators to organize shows in the future.
Nayssan acknowledges the commercial aspect of the gallery system, but envisions his space as somewhere visitors can find respite from the heavy hand of the market. “Art in its true and honest sense is a place for discussion, for feeling, for beauty, and there’s a kind of a nobility to it still for me, even though some people don’t believe in that, but there’s still a respect and a dignity for me in it. It’s a place where you can shed this marketplace attitude, though that’s not always the case,” he says.
He cites an early experience in a souk with shaping his vision for the space:
“I’m Persian, so for me a marketplace is like a hot, stuffy crowded place, it’s really a visual that’s been with me all my life, and I’m like, ‘I don’t wanna be in a souk,’ then I remember one time being in a souk and my mom being curious about something and the proprietor being like, ‘come to the back,’ and we ended up spending an hour there, sitting down having tea, in the shade, having good discussion, hearing about the city, his family, and so I was like, ‘OK, if I open up a space in my apartment, this will be a little somewhere in the shade, out of the hustle and bustle of the marketplace, to come down and have dates and good discussion.’ So that’s what it was really. That’s how it kind of unfolded.”
This first show sprawls from Nayssan’s modest living room, into a more modest second bedroom. (Most future shows will be confined to the bedroom.) Titled Bathymetry – the study of undersea topography – the group show deals with issues of the human body, hyper-consumerism, and technological obsolescence, and envisions an open-ended future defined by “Proto-” as opposed to “Post-.”
“I wanted to give the viewer the liberty and the power to imagine a future and to kind of do a discovery on their own, taking into consideration the ideas of the post-human body, post-consumerism — that’s a substrate for the show — but it really was about an exercise on imagination for the viewer, not daring to tell people how or what to think,” he says.

 Max Hooper Schneider, “The Last Caucasian War” (2014), Acrylic tank, 1996 Toshiba Tecra 700CT, polymer resin, mud, leaf litter, gravel, found detritus, Ocypodid crabs

The works in the show give the impression of being created, then abandoned by humans. Benjamin Phelan’s extruded Styrofoam sculpture, Natalie Jones’ planters made from a casts of her head and citrus fruits, and Spencer Longo’s computer-etched loofahs have the washed-out look of beach fossils. With her “Checkerboard Mountains,” Liz Craft creates a handmade tabula rasa, and Max Hooper Schneider’s “post-conflict tide pools” re-imagine outdated technology as landscapes for crabs and scorpions.

Liz Craft, “Checkerboard Mountains” (2010/2013), ceramic, steel

Nayssan enlisted Brazilian architect Pedro Câmara for the exhibition design, who ended up using cinder blocks to create structures that emulate the different levels and textures of the ocean floor. “We decided to create a parcours, like a runway and give people the freedom to walk around and be in this atmosphere,” Nayssan says. “I didn’t have any furniture, so he made these modular ones that move around, and anything with foam, you can sit on.”
Bathymetry will run through November, followed by a group painting show slated for mid-January. Nayssan doesn’t have specific exhibition plans after that, but said that he would like to see LA artists use the space to show their work before it leaves for an exhibition elsewhere. “I went to Human Resources and Joel Kyack had a one day painting party before he shipped all his paintings off to Paris, so that people could see his work. That was so good … with all of these different blogs, young artists today are hesitant to reshow the same piece in another show because it’s already been seen all over the world. I’m hoping with LA artists, before they have a show in Belgium or London or whatever, that they come do a one night little thing, so we who live here with them, in this city, get to see the work in person.”
The space is open by appointment only, so visitors should email or call if they’re looking for a shady spot to see some art, engage in discussion, and maybe share a cup of tea.
Del Vaz Projects is located at 1600 Westgate Avenue, Little Osaka, Los Angeles. Bathymetry runs through November 22.

Natalie Jones, “Untitled (Head Planter)” (2013), Plaster, wig, lacquer, rope, paint

by Matt Stromberg on September 15, 2014 for hyperallergic

Long-Running Moscow Art Fair Canceled

A key Russian contemporary art fair has been canceled in its 18th year and appears unlikely to return, The Art Newspaper reported. Art Moscow — by one account the city’s “oldest fair for contemporary art“; by another, “Russia’s oldest art fair” — seems to have been facing both economic and political troubles, including EU and US sanctions on the country, “which organizers fear may hurt the fair, since the half of the exhibitors are from abroad,” as well as an episode of censorship that happened at this past June’s International Book fair. According to The Art Newspaper (TAN):
A precedent was set this June at the International Book fair, when two plays were eliminated from the program: one for a profusion of foul language, another because of an accusation of hidden gay propaganda. The organizers self-censored the works, although there was an implication of external pressure.
As artnet News points out, the blog of Moscow-based Baibakov Art Projects sums up the cancelation of the fair as “due to a combination of reasons ranging from politics (by now its hardly surprising that some galleries and artists could boycott a fair in Russia) to economics (the art market in the country is not exactly booming) to good old – fashioned censorship.”
In a follow-up interview with TAN, Vasily Bychkov, chief executive of Art Moscow organizer ExpoPark Exhibition Projects, admitted that the decision to cancel the fair was made in the winter, adding, “We decided to relocate the resources usually employed for Art Moscow — people, money — to another project.”
An article about last year’s edition of Art Moscow indicates the fair was already struggling financially, facing “budgetary woes and a stagnant art market in Russia.” Meanwhile, another contemporary art fair, Cosmoscow, will open in Moscow on Friday as planned. This is Cosmoscow’s second year after an initial outing in 2010, according to Baibakov; its website identifies it as “Russia’s only international fair for contemporary art.”

joi, 11 septembrie 2014

Arts District Opens The Door For New Live/Work Units, But They Can't Be Tacky

The Arts District (Photo by Juliet Bennett Rylah/LAist)

The Arts District is working to maintain its status as a cool, eclectic neighborhood and avoid becoming a super-gentrified concentration of yuppies.
The new Interim Live/Work Zone will allow new live/work units, but they have to follow strict rules that ensure the neighborhood keeps the artists and aesthetics that made it so attractive in the first place, Curbed reports.
Currently, developers can't build any new live/work spaces in the Arts District; they can only be put into buildings that already exist. Under this temporary rule, developers can apply to construct new live/work units in a certain zone while the Department of Planning works on a larger, permanent zone. Only a limited number of projects will be allowed, and these will be used as a test.
The affected area is bounded by 1st Street to the North, 7th Place/Violet Street to the south, Alameda Street to the West and the Los Angeles River to the east.
There are some rules for these new developments, in terms of how they are used, how they look and their impact on the neighborhood. Perhaps most important to potential new tenants is that each project must have a minimum number of affordable units.
The individual units must have high ceilings, open floor plans, plenty of natural light and must be no smaller than 750 square feet. These are not supposed to be traditional apartments—they must be created with working artists in mind. Each project must also have on-site, communal spaces for residents to work and create.
There must also be space for green projects (like living walls) and art murals, the latter of which now legal in downtown Los Angeles. The buildings must look like they belong there from design to signage—so no concrete monstrosities or billboards. And no unsightly dumpsters; trash has to be enclosed.
All new construction must also be sustainable, using solar reflective roofs, installing bike parking and planting trees. Big sites will have to break up the buildings and put in pedestrian-friendly areas. Parking is encouraged to be put underground, and is "unbundled." This means that you purchase the spot(s) if you need one, but it's not included in your rent if you don't.
Source: laist.com