Toby Zielger, Chisenhale Gallery, London - Enter Desire

Toby Zielger: Enter Desire

Chisenhale Gallery, London

27 January - 13 March 2005

Toby Ziegler’s first solo exhibition in a public gallery comprises a hybrid mix of painting, sculpture and installation. Toby Ziegler concentrates on the traditional genres of landscape, interiors and still life to produce optically resonant works, often painted on workman’s industrial light-reflective fabric or Japanese paper.

Toby Ziegler makes use of interlocking geometric patterns and designs adapted from a wide variety of sources, juxtaposing hard-edged qualities against a painterly touch. His reflective and luminous works appear visually unstable, shifting radically what they reveal to viewers, depending on the angle from which the work is seen and the changing light conditions. His works encourage the viewer to actively decipher the complex spaces he both depicts and constructs.

Toby Ziegler’s exhibition includes three large-scale landscape paintings; a reconfigured Persian rug, created by cutting undulating patterns into two rugs and interlocking them to form a new whole; a rotating geometric latticework lantern, ten feet in height, each panel hand-painted in Japanese ink on paper, depicting a generic pastoral scene with five separate vanishing points; and a glowing Sphinx, ten feet in length and eight in height, constructed entirely from folded acetate and illuminated from within by a pulsing light. Wrapped around the Sphinx’s surface will be a landscape, printed in shades of grey and pink.

Toby Ziegler was born in 1972 and studied at Central St. Martin’s between 1991 and 1994. He lives and works in London. He was recently awarded a Delfina Studios residency. Recent exhibitions include: Expander, Royal Academy of Arts, London, 2004; John Moores 23, The Walker, Liverpool, 2004; Collection 1 (curated by Stephen Hepworth), Isabella Brancolini Arte Contemporanea, Florence, 2004; Art Kliasma 2003, Moscow; EAST International, Norwich Gallery, 2003; Civilia, Bluecoat Gallery, Liverpool, 2003; Creek, Cell project space, London, 2003; Project with Christopher Landoni and Oliver Michaels; King of Norway’s house, Piccadilly, London, 2002; Project with Christopher Landoni, Hoxton House, London, 2002.

CHISENHALE GALLERY

64 Chisenhale Road, London E3 5QZ

www.chisenhale.org.uk

John Latham, Lisson New Space, London - God is Great

John Latham: God is Great

Lisson New Space, London

21 January - 5 march 2005

"The belief system is a rock-bottom source of non-negotiable problems of the day". - John Latham 

JOHN LATHAM (b.1921) takes up a special place in Britain’s art history. He has been best known for his art activism of the sixties: burning the Encyclopedia Britannica (Skoob Tower Ceremony: National Encyclopedias, 1966) or chewing up and then distilling, the pages of Clement Greenberg’s standard work of art criticism, putting the resulting alcohol in a glass phial (Still and Chew/Art and Culture, 1966-67, collection MOMA, New York). Much less understood is John Latham’s ongoing work reinterpreting notions of time, the universe and the place human beings take up in it. In 1958, John Latham started working with books; making reliefs of books emerging from plaster on canvas. 

"The lines of print in books", he says, "represent linear time within an omnipresent sculptural time (to read it takes time on the clock"). 

Around 1982, a glass panel came to replace the white surface of the canvas, proposing a new representational language where the book forms appear to be extruded from the glass. The glass represents an a-temporal and a-spatial continuum, from which the books extrude as temporal records of human history. They show the Human Being as what John Latham describes as a ‘Reflective, Intuitive Organism’ within the long line of evolution. 

The first ‘God is Great’ work was made in 1990. It united the three sacred texts of the great monotheistic religions: the Torah in Hebrew, the New Testament in English and the Qur’an in Arabic, within a single glass sculpture. In defining the three major religions as belonging to a single category of belief systems, John Latham suggests that "we now have a framework from which all cultures have sprung and with reference to which any unresolved question can be discussed, if not finally resolved". The exhibition includes works from the series ‘God is Great’ from 1990 to the present day, as well as works made specifically for the show. 

John Latham is represented in major museum collections all over the world. There will be a major retrospective of his works at the Tate Gallery in 2005-06. John Latham lives and works in London.

LISSON NEW SPACE

29 Bell Street, London, NW1 5BY

www.lissonnewspace.co.uk

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African Queen - Exhibition & Artists - The Studio Museum in Harlem, New York

African Queen

The Studio Museum in Harlem, New York

January 26 - March 27, 2005

The Studio Museum in Harlem presents African Queen, an exhibition that explores both real and imagined attitudes that have come to define what constitutes the black queen. These are the thoughts that artists have espoused in their work to muse the black woman in history and in popular culture. The image of the black woman spans countless generations and diverse media, from Egyptian sculpture and European portrait painting, to Hollywood films and fashion magazines.

From diva to bodybuilder to supermodel, these images speak to desire, history and attitude that has come to define the ever evolving image of an African Queen.  With more than 50 works in various media by 30 artists, African Queen cycles through numerous images and notions of black women by contemporary artists working in painting, sculpture, photography, video and mixed media. For example Nigerian photographer J.D. ‘Okhai Ojeikere’s, Ogun Pari (2000), translates to “war is over” and depicts a hairstyle that celebrates the end of the Nigerian civil war in 1970. On the other hand, Nzingah Muhammad’s Extended Veil, a photograph of her fathers four wives sharing one same veil, symbolically representing the unity brought.  Whereas Wangechi Mutu’s collages infuse African rituals, immigrant nightmares and contemporary ‘bling.’

Charita (2001), a photograph by Dawoud Bey, is of a teenager in Chicago’s south side who strikes a pose in her leopard slippers. John Bankston’s watercolor painting, The Good Fairy Takes a Break (2004), and Mickalene Thomas’ work in mixed media, Rumor has It (2003), both present the extroverted and liberal. Lawdy Mama (1979), a painting by Barkley Hendricks represents a black woman as an icon. While Deb Willis’s photographs explore the beauty of black female bodybuilders. In contrast, the works by Iké Udé, Lyle Ashton Harris and John Bankston expand the discourse of African Queen to include drag queens and transgender.

African Queen is the first in a series of exhibitions organized by the 2005 Studio Museum in Harlem Curatorial Team, composed of Rashida Bumbray, Ali Evans, Sandra D. Jackson and Christine Y. Kim. Inspired by works from the permanent collection and including recent acquisitions, gifts and loans, African Queen reflects the exchange of ideas that live in the museum’s collective and collaborative psyche.

ARTISTS IN THE EXHIBITION

JOHN BANKSTON, Born 1968 in Benton Harbor, MI - Lives and works in San Francisco, CA

DAWOUD BEY, Born 1953 in Queens, NY - Lives and works in Chicago, IL

MARK BRADFORD, Born 1961 in Los Angeles, CA - Lives and works in Inglewood, CA

CHAKAIA BOOKER, Born 1953 in Newark, NJ - Lives and works in New York, NY

RENEE COX, Born 1960 in Colgate, Jamaica - Lives and works in Chappaqua, NY

RICO GASTON, Born 1966 in Augusta, GA - Lives and works in Brooklyn, NY

LYLE ASHTON HARRIS, Born 1965 in Bronx, NY - Lives and works in New York, NY

BARKLEY HENDRICKS, Born 1945 in Philadelphia, PA  - Lives and works in New London, CT

DEANA LAWSON, Born 1979 in Rochester, NY - Lives and works in Rochester, NY

KALUP LINZY, Born 1977 in Clermont, FL - Lives and works in Brooklyn, New York

ADIA MILLETT, Born 1975 in Los Angeles, CA - Lives and works in Brooklyn, NY

NZINGAH MUHAMMAD, Born 1976 in New York, NY - Lives and works in Brooklyn, NY

WANGECHI MUTU, Born 1972 in Nairobi, Kenya - Lives and works in Brooklyn, NY

KORI NEWKIRK, Born 1970 in Bronx, NY - Lives and works in Los Angeles, CA 

J.D. ’OKHAI OJEIKERE, Born 1930 in Ovbiomu-Emai, Nigeria - Lives and works in Lagos

NADINE ROBINSON, Born 1968 in London, England - Lives and works in Bronx, New York               TRACEY ROSE, Born 1974 in Durban, South Africa - Lives and works in Johannesburg, South Africa

RUDY SHEPHERD

MALICK SIDIBE, Born 1935 in Soloba, Mali - Lives and works in Bamako, Mali

LORNA SIMPSON, Born 1960 in Brooklyn, NY - Lives and works in Brooklyn

XAVIERA SIMMONS, Born 1974 in New York, NY - Lives and works in Brooklyn, NY

SHINIQUE SMITH, Born 1971 in Baltimore, MD - Lives and works in Brooklyn, NY

MICKALENE THOMAS, Born 1971 in Camden, New Jersey - Lives and works in Brooklyn, NY

FATIMAH TUGGAR, Born 1967 in Kaduna, Nigeria - Lives and works in New York, NY

JAMES VANDERZEE (1886-1983)

FRANCESCO VEZZOLI, Born 1971 in Brescia, Italy - Lives and works in Milan, Italy

CARRIE MAE WEEMS, Born 1953 in Portland, Oregon - Lives and works in New York, NY

KARA WALKER, Born 1969 in Stockton, CA - Lives and works in New York, NY

DEBORAH WILLIS, Born 1948 in Philadelphia, PA - Lives and works in New York, NY

IKÉ UDÉ, Born in Lagos, Nigeria - Lives and works in New York, NY and Paris, France

THE STUDIO MUSEUM IN HARLEM - SMH

144 West 125th Street, New York, NY 10027

www.studiomuseum.org

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PQI mPack P800 Portable Multimedia Player

CeBIT 2005 / Hannover, Germany - Power Quotient International (PQI)

The mPack P800 breaks new ground as the first PMP to support the Sony/Philips Digital Interface Format (SPDIF). When linked to a 5.1-Channel Home theater system via optical Toslink port, mPack P800 is able to deliver a crystal clear 5.1 digital surround sound for music and movies. mPack P800 also supports a broader and more inclusive variety of media formats than any other device of its kind, including:

- Video: MPEG 1/2/4, XviD, ASF, AVI, MOD (decoding); MPEG 1 (encoding), with WMV 9 encoding soon available via free firmware upgrade; - Audio: MP3 CBR/VBR, WMA, AC3, AAC, WAV, OGG (decoding); WAV, MP3 (encoding); - Photo: JPEG, GIF, BMP, PNG, RAW Image.

Thanks to mPack P800's TV/DVD recording capability, entertainment lovers can record their favorite DVDs, home videos, and TV programs or sporting events direct from their TV for later playback -- whenever and wherever they want -- on the unit's 3.5-inch, 320 x 240 full-color TFT LCD screen. Live FM radio listening and recording capability is also supported. As a storage/playback platform, mPack P800 enables users to play entertainment from its hard disk drive onto a home TV or theater system. Its USB 2.0 transfer capability not only allows quick download of videos, photos and audio files, but also enables text documents and other files to be easily stored and carried. Movies - PQI's mPack P800 is able to play video files recorded in resolutions higher than 760 x 576 (30 fps) -- the highest among all leading PMPs. The unit's LCD screen provides exceptional, full-color rendition of any kind of visual entertainment. Music - Music lovers can load hours of songs into mPack P800. In addition to MP3s and the many other formats supported, mPack P800 displays available album art on its screen; a built-in EQ enables the user to adjust the sound for normal, jazz, pop, rock, or classic sound environment. The onboard FM tuner makes listening to and recording favorite live FM programs easy. Photos - The mPack P800 also functions as a walking photo gallery. The unit's type II CompactFlash slot lets users mount their CompactFlash card directly into mPack in order to save and view pictures without connecting to a PC. Memory Stick, Secure Digital, MultiMediaCard and SmartMedia cards are supported through an optional 4-in-1 adapter.

Convenience Features - mPack P800 includes two different remote controls -- an in-line wired remote for close-up control, and a wireless infrared remote control for use across the room such as when connected to a home system. The remotes also allow quick navigation of music files, video, and pictures, making it fun and convenient to experience all forms of stored entertainment. PIMS functions of the mPack P800 including a calendar, address book, and clock. The internal microphone allows instant, on-the-fly recording of lectures, business meetings, or verbal notes. mPack P800 even includes a number of entertaining games to make sure users are never bored. Other advanced usability features include a full complement of operational software including full-function audio/visual file browser, a download manager, address book manager, media library, and smart firmware update utility.

Pricing and Availability - PQI's mPack P800 requires 4400 mAh to operate (two permanently-installed 2200 mAh rechargeable Lithium Ion batteries) and comes with 70mW ear bud earphones; AC adaptor with cable; USB 2.0, SPDIF cable, Manual, Quick Guide, CD and A/V cables; infrared and in-line remote controls; daytime carrying bag; and larger travel bag with room for all accessories.

About Power Quotient International Other Posts on PQI Products PQI mTrix Portable Multimedia Player PQI mPack P600 Portable Multimedia Player PQI mPack P400 Portable Multimedia Player

Photo (c) 2005 Power Quotient International - All rights reserved

Logiciel Corel Painter IX en francais

De vitesse accrue, cette nouvelle version offre des outils tout indiqués pour les professionnels de l’image, qu’ils travaillent dans les beaux-arts ou qu’ils soient cinématographes, développeurs de jeux vidéo, concepteurs, publicitaires, illustrateurs ou photographes.

Performances et productivité

Corel Painter IX s’enrichit de nouveautés et améliorations qui en optimisent les performances, à commencer par sa vitesse. Les palettes Options de styles, la commande Images/seconde et les raccourcis clavier personnalisables contribuent aussi à réduire le délai d’exécution des travaux.

Créativité

Les artistes bénéficient de nouvelles possibilités créatrices du nouveau système de peinture Huiles de l’artiste. La magnétisation des traits, l’aquarelle numérique et la duplication rapide font découvrir de nouvelles dimensions artistiques.

Compatibilité

Corel Painter IX est compatible avec Adobe Photoshop et accueille toute la gamme de tablettes graphiques Wacom, y compris le stylet Intuos 3, le tout dernier modèle, et optimise la gestion des couleurs.

Prise en main

Corel Painter IX s’accompagne de ressources d’appoint. Du guide d’utilisation dynamique au Guide pratique offrant une série de didacticiels élaborés d’éminents professionnels de l’image, tout est prévu pour démarrer en vitesse et vous faciliter la prise en main.

Début de commercialisation : 21 février 2005 au prix conseillé de 429 € pour la version complète, 199 € pour la mise à jour et 84 € pour la version éducation (hors TVA).

http://www.corel.fr/

Louis Cameron, I-20 Gallery, New York - Pop Secret

Louis Cameron: Pop Secret

I-20 Gallery, New York

January 22 – March 12, 2005

I-20 presents Pop Secret, the first New York solo exhibition of Louis Cameron. The works in Pop Secret test color-coded consumer product identities by abstracting images that are familiar to us. The exhibition consists of two suites of paintings, collages, and a video.

In the first suite, the Puzzle Paintings, the colors are extracted from products and painted on jigsaw puzzle pieces. The colors are selected by chance and the quantity by the proportion of color used in the original product. When assembled the die cut pattern of the jigsaw puzzle is in the foreground and the color composition is the result of the selection process. Even after this abstraction process the product identity, so engrained on our minds, is still recognizable. Titles in this suite include “Mountain Dew,” “Newport,” and “Reynolds Wrap.”

Unlike the Puzzle Paintings, the second suite of works called Color Bar Paintings are copies of ready-made color extractions. These are the squares and circles of color one finds on the inside flaps of cereal boxes and other products. In addition to testing product color identity the paintings pose rhetorical questions to minimal paintings of the past such as “Is the destiny of minimal painting and its aesthetic to calibrate color for consumer products?” and “After radical reduction in form and content is minimal art just another consumer product?” Titles include “Doublemint” and “Crest.”

The collages shown at I-20 are made from product boxes and packaging cut into grids and reassembled by chance to the original size of the box. The resulting images look like sliding block puzzles that have been scrambled.

Finally, Louis Cameron debuts his first video entitled “Universal.” “Universal” is an animated barcode composed of hundreds of barcodes, mostly collected from the artist’s loft, morphing into one another. The lines in “Universal” move in a hypnotic rhythm like window blinds blowing in the wind while alluding to our massive consumption.

In 2005, Louis Cameron’s work will be featured in the 1st Moscow Biennale and in Extreme Abstraction at the Albright-Knox Art Gallery, Buffalo. His work has been featured in Freestyle at The Studio Museum in Harlem; Open House at the Brooklyn Museum,; and Buy American at Chez Valentin in Paris. Cameron has completed a residency at The Studio Museum of Harlem in 2003, and lives and works.

I-20 GALLERY

529 West 20th Street, New York, NY 10011

www.i-20.com

Panorama on Brazilian art, Vigo Museum of Contemporary Art - MARCO, Museo de Arte Contemporánea de Vigo - 20 DISARRANGEMENTS - Curated by Gerardo Mosquera

20 DISARRANGEMENTS 

Panorama on Brazilian art 

MARCO, Museo de Arte Contemporánea de Vigo

Vigo Museum of Contemporary Art

21 January – 8 May 2005 

Artists on the exhibition:

• Jorge Barbi (A Guarda, Pontevedra, 1958)

• Paulo Climachauska (Rio de Janeiro, Brazil, 1948)

• Umberto Costa Barros (Rio de Janeiro, Brazil, 1948)

• José Damasceno (Rio de Janeiro, Brazil, 1968)

• Wim Delvoye (Wervik, Belgium, 1965); lives and works in Gant, Belgium; and London, United Kingdom

• Fernanda Gomes (Rio de Janeiro, Brazil, 1960)

• José Guedes (Fortaleza, Brazil, 1958)

• Adriano and Fernando Guimarães (Brasilia, Brazil, 1968; Brasilia, Brazil, 1962)

• Kan Xuan (Xuan Chang, China, 1972); lives and works in Amsterdam, Netherlands

• Leonilson (Fortaleza, Brazil, 1957 – São Paulo, Brazil, 1993)

• Lucas Levitan and Jailton Moreira (Porto Alegre, Brazil, 1977; São Leopoldo, Brazil, 1960); live and work in Porto Alegre, Brazil

• Jorge Macchi (Buenos Aires, Argentina, 1963)

• Cildo Meireles (Rio de Janeiro, Brazil, 1948)

• Marcone Moreira (Pío XII, Brazil, 1982); lives and works in Marabá, Brazil

• Vik Muniz (São Paulo, Brazil, 1961); lives and works in New York, USA

• Ernesto Neto (Rio de Janeiro, Brazil, 1964)

• José Patrício (Recife, Brazil, 1960)

• Sara Ramo (Madrid, Spain, 1975); lives and works in Belo Horizonte, Brazil

• Adriana Varejão (Rio de Janeiro, Brazil, 1964)

• Alex Villar (Vitória, Brazil, 1962); lives and works in New York, USA 

This exhibition was produced by the MAM, Museu de Arte Moderna de São Paulo. The exhibition is composed of approximately 57 works of art in different forms: installations, interventions, objects, paintings, engravings, sculptures, videos, etc.

The exhibition “20 DISARRANGEMENTS”, curated by the well-known Cuban art critic Gerardo Mosquera, has its origins in the 2003 edition of the Panorama da arte brasileira, (the second most important periodic exhibition of contemporary art in Brazil, only surpassed by the São Paulo Biennial), organized since 1969 by the MAM, Museu de Arte Moderna de São Paulo. This is the first time that the Panorama leaves Brazil and is internationally presented. MARCO is the only Spanish museum hosting this exhibition, which shows what is currently being produced in one of the most innovative contemporary art scene.

The fact that the MAM decided to engage a foreign curator shows the interest of the organizers in modernizing an event so strongly consolidated. That is why the curator considered his task in two directions: working with art and artists, but also calling into question the Panorama as an institution. He aimed to organize an exhibition and at the same time to “disarrange” its institutional framework in order to undertake a complete change. Gerardo Mosquera has somehow created an “anti-panorama”, because he consciously refuses the idea of presenting an anthology or a study of contemporary Brazilian art, in order to present an exhibition based on a concept of its own, capable of standing by itself and travelling abroad.

The concept of “disarrangement” has not been imposed by the curator, but created from what has been learned through art practice, after a research carried out in eleven Brazilian cities where the work of more than a hundred artists was assessed. The title was taken from a Cuban pianist and composer of the sixties, Felo Bergaza, who aroused great enthusiasm among the audience with his musical arrangements, so radical that he would call them “disarrangements”. “His passionate imagination as composer and performer used to outshine the original performance, even though its framework was never broken”. This is the concept on which the exhibition is based: creative disarrangements of structures, materials, formal dimensions or the content of the works of art. As Gerardo Mosquera said, “some artists create their works through the formal and conceptual recourse to “disarranging” a structure. Disarrangements can be carried out in the formal dimension of the work of art, in its content, in its projection or in all of them”.

All the artists on exhibition were selected because they played a leading role in these trends and their works intertwine in a perfect manner with the visual discourse of this exhibition. Four of the 20 artists on exhibition do not come from or live in Brazil (the Galician Jorge Barbi, the Belgian Wim Delvoye, the Chinese Kan Xuan and the Argentinian Jorge Macchi). The addition of these artists stamps the exhibition with a more thematic and open character, and is the result of an “auto-criticism” from within intended to exhibitions determined by regional or national frameworks, which, according to the curator, are now obsolete. That is why an artist whose work complies with the exhibition concept is included in the country hosting the exhibition. On this occasion, it is the Galician Jorge Barbi.

DESARREGLOS is presented as a thematic exhibition of international interest. This target, according to the curator, has three different aspects:

First, encouraging the dissemination of contemporary art in Brazil, which is nowadays one of the leading art scenes in the world. There are many Brazilian artists in the international scene, but very little is known of Brazil as a first-class art space with its particular character. People often get the impression that Hélio Oiticica, Ligia Clark or Cildo Meireles came out of nowhere, due to the ignorance of Brazilian cultural processes, artists and movements. 

Second, taking the exhibition to countries or cities that do not belong to “international circuits” and that show an emerging energy. The know-how and the example set by Brazilian plastic arts may encourage a fruitful exchange of experiences in these places, particularly for young artists and critics.

And third, striving to create a plurality of international circuits capable of establishing their own practices and values beyond the context. This will give a meaning to terms like “international art”, “international art language” and “international art scene”, and introduce in the international circuit an exhibition that can raise interest by itself.

CATALOGUE:

MARCO publishes a bilingual offprint in Spanish and Galician with the adaptation of texts that appeared in the catalogue published in 2003 by the MAM (Museu de Arte Moderna de São Paulo) to mark the opening of Panorama da arte brasileira 2003. This catalogue, on sale together with the offprint at the museum shop, is a trilingual edition in Portuguese, Spanish and English with texts written by Gerardo Mosquera and Adrienne Samos about the artists and an interview with the curator by the journalist Washington de Carvalho Neves, apart from technical specifications and reproductions of most of the works on exhibition. 

ABOUT THE CURATOR:

Gerardo Mosquera –art critic, curator and art historian– was born in Havana in 1945 and has been curator of exhibitions in the New Museum of Contemporary Art in New York for more than a decade. He is member of the editorial board of the magazines Art Nexus, Calabar, Ideas & ensayos, Nika and Third Text, as well as founder of the Havana Biennial and co-curator of “Ante América” in 1992-94. Among his latest exhibitions, the most remarkable are “No es sólo lo que ves. Pervirtiendo el minimalismo”, MNCARS Madrid, 2000, and “Wilfredo Lam”, XXIII São Paulo International Biennial, 1996. Gerardo Mosquera has written many books on contemporary art, such as "Beyond the Fantastic. Contemporary Art Criticism from Latin America" (editor), London, 1995; "Contracandela, Caracas", 1995, and "El diseño se definió en octubre", Havana, 1989, Bogotá, 1992. 

MARCO, Museo de Arte Contemporánea de Vigo

Vigo Museum of Contemporary Art

Rúa Príncipe 54, 36202 Vigo, España

www.marcovigo.com

Tatsuo Miyajima, Lisson Gallery, London

Tatsuo Miyajima

Lisson Gallery, London

21 January - 5 March 2005

"Everything changes.

Everything keeps going on forever.

Everything is interacted with each other."

Tatsuo Miyajima

"Tatsuo Miyajima is one of the most significant artists to have emerged during the tumultuous late 1980's, as part of an overall transformation within contemporary art from and expressionist paradigm to one more closely related to the conceptual orientation of the artwork. In purely historical terms, Miyajima's importance as a key figure is linked to the totality with which he embraced a very simple methodology, counting, to express his ideas about a profound and elusive subject, time...Far from fetishising the role of technology in daily life, [he] invites us to see through its illusions and to construct for ourselves a more sceptical attitude towards the ways in which time is experienced."

(Dan Cameron, The Place of Time, text for catalogue of Artsonje Museum in Seoul, Korea, 2002)

Beginning with number one (Miyajima never employs zero) he continues with endless counting using a network of digital LED devices and mirrored surfaces. 

"He has understood the profound and dramatic sense of the temporal continuum, its numerical progression that tends toward infinity, since it is outside the reach of the circumstantial existence of the individual...What never fails to appear is the pause, the interstice that separates the number, and that lets it advance towards the future." (Achille Bonito Oliva, The Deluge of Time, Painting and Numbers on the Surface of Art)

Though not strictly associated with any one generation, historical comparisons could be made not only with On Kawara in particular, but also to Fontana, Beuys and Mondrian. These references, evident throughout his ouevre, make him a "fluid bridge between East and West,...philosophy and technology, painting and installation, performance and social event."

"In the end, Tatsuo Miyajima's is the painting of time on the surface of space." (ibid.)

Born in Tokyo in 1957, TATSUO MIYAJIMA lives and works in Ibaraki, Japan. His works are found in collections of some of the most prestigious museums throughout the world and have been shown in venues such as the Venice Biennale (1988 and 1999), the Carnegie Museum of Art, Pittsburgh (1991), the Guggenheim Museum of New York (1995), the International Centre for Contemporary Art, Montreal (1997) and the San Francisco Museum of Modern Art (1997). Recent exhibition will includes a one-person show at MARCO, Rome (May 2004).

LISSON GALLERY

52-54 Bell Street, London, NW1 5DA

www.lisson.co.uk

Chris Evans, Galerie Juliètte Jongma, Amsterdam - The Rock & The Judge

Chris Evans: The Rock & The Judge

Galerie Juliètte Jongma, Amsterdam

15 January – 19 February 2005

The critic and art historian Michael Baxandall once wrote that an artwork 'is the deposit of a social relationship'. Galerie Juliètte Jongma presents 'The Rock and The Judge', the first solo exhibition in The Netherlands of the Scottish artist CHRIS EVANS (Easterington, 1967), curated by Maxine Kopsa.

There's a lot to be remembered here. There's the police force, a judge, the rock, an airbrush, the fraternity and a sculpture park based on Raymond Roussel's Locus Solus. But it all comes together, quite neatly. 'The Rock & The Judge' is like a surreal encounter with a CEO-come-artist-turned-alternative-rock star and a perfectly angelic though somehow demonic muse, like the rabbit in Donnie Darko, who, late at night, too many drinks and too many hours at a random party, all of a sudden find themselves speaking the same language. Who then wake up the next morning wondering if it was all just a dream.

'The Rock & The Judge' consist of three different works (airbrush paintings, lithographs and a sculpture) all connected through their common search for the depiction of power relations. Necessary irony entailed.

Chris Evans' work pattern usually begins with a personal encounter and then develops into a visual re-working, conceptually formed along the way. For instance: years ago, at the academy he met (and immediately disliked -the feelings were mutual) a part time mature student, a police officer, interested in drawing. When the officer was out of the room for a minute, not being able to withhold his curiosity Evans quickly took a look in his sketchbook and saw portrait after portrait of different judges. 'The Rock & the Judge' the work which lends its title to the show, comprises a sculpture and a drawing commissioned by Chris Evans (granted, slightly re-worked by Evans) by detective constable Richard Hill from the Yorkshire police force (not the same). The 'rock' -an autonomous object, a true sculpture- placed as though on trail in front justice's elevated bench, might depict -with enough wit- the win/lose situation involved in much aesthetic discourse and validation.

Three paintings done in airbrush -a technique few people could get away with without it becoming either tattoo-like or tastelessly 80s- are the beginning of a new project called The Fantasist. They portray imaginary outdoor sculptures and are loosely based on Raymond Roussel's surreal novel, Locus Solus (1916). The Fantasist is a self initiated touring exhibition and book of sculpture parks, comprising these and other works as well as commissioned texts by, amongst others, Lucy McKenzie, Liam Gillick, Will Bradley, and Paulina Olowska. The publication is due to come out in the summer of 2005.

Power. The subtle hierarchy that goes along within its precarious relationship, and the law and order prevailing that enables its successful continuance. That's in essence what is happening here. Or, as Will Bradley so aptly put it: 'Evans is deeply concerned with the impossibility of separating the artwork from the social and political conditions in which it exists, but unlike the politically motivated artists of the last generation he doesn't ask that art give up any of its connection with personal, poetic or imaginative investigation.'

GALERIE JULIETTE JONGMA

Gerard Douplein 23, 1073XE Amsterdam

www.juliettejongma.com

Robert Mapplethorpe curated by David Hockney

ROBERT MAPPLETHORPE CURATED BY DAVID HOCKNEY
Alison Jacques Gallery, London
January 14 - March 12, 2005

“I made a drawing of Robert and he gave me a Polaroid photograph of a male nude”.
David Hockney in conversation with Charlie Scheips, 2004.

Alison Jacques Gallery in collaboration with Charlie Scheips presents an exhibition of work by Robert Mapplethorpe curated by David Hockney. Mapplethorpe is considered one of the most important photographers of the twentieth century and this is a unique opportunity to discover his work through the eyes of another artist. The pair first met in1970 when Hockney and his assistant Mo McDermott visited Robert Mapplethorpe who was living with the rock musician Patti Smith at the Chelsea Hotel, New York. Hockney went on to be photographed by Mapplethorpe on several occasions including the well known 1976 portrait on New York’s Fire Island with Henry Geldzahler, the renowned curator and cultural commissioner of New York in the 70s.

Highlighting Robert Mapplethorpe's aesthetic sensibility, the controlled balance between light and shadow, balance and symmetry, beauty and obscenity; Hockney takes the viewer on a personal selection of portraits, still lives, flowers and nudes in what is a fresh and previously unseen overview of the photographer’s work to date. The show comprises of around sixty of Mapplethorpe’s photographs taken in the years 1975 – 1988. Many of the images are lesser known and some have never previously been exhibited in London.

The exhibition will feature portraits of leading creative figures in contact with both Mapplethorpe and Hockney. Portraits including artists Keith Haring, Andy Warhol, Roy Lichtenstein, Ed Ruscha, and Louise Bourgeois will be shown alongside the gay porn star Peter Berlin, writers William Burroughs and Bruce Chatwin, and the poet and rock icon Patti Smith. Hockney has also selected portraits of famous acquaintances including Richard Gere, Lord Snowdon, Yoko Ono, Arnold Schwarzenegger, Marianne Faithful and Iggy Pop as well as art world personalities. These include curator Mario Amaya, who was with Andy Warhol when he was shot in 1968; Sam Wagstaff, Mapplethorpe’s long time partner and one of the pioneering collectors of photography whose extensive collection was sold to the Getty Museum in 1984; and key art dealers such as Robert Fraser, Leo Castelli and Ileana Sonnabend.

During Robert Mapplethorpe’s lifetime he had UK museum shows at the ICA, London (1983) and the National Portrait Gallery (1988). Since his death from AIDS in 1989, museums throughout the world have made his work the subject of numerous exhibitions, including the Hayward Gallery, London (1997). The current show follows on from ‘Mapplethorpe selected by Cindy Sherman’ at Sean Kelly Gallery, New York (2003) and ‘Robert Mapplethorpe curated by Cathy Opie’ at Mark Selwyn Fine Art, Los Angeles (2004).

David Hockney recently published Hockney’s Pictures, a retrospective selection of 45 years of his work. Charlie Scheips, is a freelance curator, editor and cultural historian based in New York City. He writes a weekly column entitled The Art Set for newyorksocialdiary.com. He was the founding director of the Condé Nast Archive.

Alison Jacques Gallery, London 16-18 Berners Street
London W1T 3LN

Next exhibition: Paul Morrison, March 18 - April 23, 2005

Related Post: Robert Mapplethorpe: A Season in Hell, Alison Jacques Gallery, London, 14 October - 21 November, 2009

Systemes d’impression couleur multifonction Canon

Canon iRC 2620N et CLC 2620

Fort du succès rencontré avec les iRC 3220N et CLC 3220, Canon présente 2 nouveaux systèmes d’impression couleur multifonction intelligents sur le segment 13/29 ppm : les iRC 2620N et CLC 2620

L’ iRC 2620N s’adresse à tous les services et départements d’entreprise qui impriment chaque jour de larges volumes couleur issus d’applications bureautiques courantes. Le CLC 2620 se destine plus particulièrement aux professionnels de l’impression (CRD et utilisateurs « avertis ») pour des travaux plus spécifiques, arts graphiques et production faible volume.

Les nouveaux systèmes iRC 2620N et CLC 2620

- s’appuient sur les atouts qui font le succès des iRC 3220N et CLC 3220 (qualité d’impression, productivité, accessibilité, fonctions de communication intelligentes ...)

- sont équipés en standard d’une plate-forme JAVA qui leur permettent d’être parfaitement intégrés dans des processus/ applicatifs métiers- proposent deux nouvelles méthodes d’authentification en standard ainsi qu’un kit de sécurisation des envois PDF pour une sécurité et un contrôle renforcé

- offrent de nouvelles connexions qui optimisent la réalisation des documents bureautiques, arts graphique et production de courts tirages couleur.

Des systèmes personalisés grâce à la plate-forme Java et à la technologie MEAP

Développée par Canon, la technologie MEAP (Multifunctional Embedded Application Platform) permet d’intégrer les systèmes d’impression dans les processus/applicatifs métiers des entreprises. L’installation de programmes dédiés, la personnalisation des interfaces utilisateurs, l’implémentation de développements spécifiques simplifient la communication et la transmission des documents. Gain de temps, économie de formation puisque ces programmes puissants sont accessibles très simplement par les utilisateurs, accès identique sur toutes les machines dotées de la technologie MEAP en sont les bénéfices immédiats.

Sécurité et contrôle renforcés

Les iRC 2620N et CLC 2620 disposent en standard de nouvelles méthodes d’authentification. En plus d’un système de gestion des accès à la couleur qui offre à travers la définition de 1000 codes utilisateurs, la possibilité de limiter les copies, impressions et lectures, qu’elles soient couleur ou noir et blanc, deux nouvelles méthodes d’authentification par Login et Mot de Passe, SSO (Single Sign On) et SDL (Simple Device Login) renforcent sécurité, contrôle et maîtrise des coûts. Un nouveau kit de sécurisation des envois permet en outre de protéger les envois des fichiers PDF avec mot de passe.

Des connexions performantes

L’iRC 2620N, véritable multifonction « prêt à imprimer » possède en standard une connexion Canon embarquée. Ce contrôleur d’impression, bénéficiant des 40 Go de disque dur de la machine et de sa mémoire de 1024 Mo est plus particulièrement dédié aux applications bureautiques.

Le CLC 2620 dispose de deux possibilités de connexions.

Le ColorPASS 3220, contrôleur réseau de technologie EFI, dédié aux applications bureautiques étendues et graphiques, offre une puissance de traitement ainsi que des fonctions avancées de gestion de la couleur : calibrage post-RIP de ColorWiseTM, gestion des couleurs nommées avec Spot-On, lissage des dégradés ... très recherchées par les professionnels de la création.

Véritable PostScript3 Adobe pour une garantie d’impression de tous les documents, PCL5e (émulation) pour une homogénéité complète avec tous les systèmes installés, ce contrôleur propose en outre, de nombreuses fonctions avancées telles que l’impression des onglets, la gestion des fonds de page, la gestion de gouttière en mode brochure ...L’interface de pilotage est très conviviale, la Commande WorkStationTM intégrée permet un suivi aisé des travaux : contrôle des tâches, prévisualisation, équilibrage de charges, archivage de fichiers pour réimpression ultérieure ... tandis que les Web Tools autorisent une supervision à distance depuis n’importe quel navigateur web.

Contrôle total des accès à l’impression, filtrage des ports, protection des journaux des tâches, protection contre les attaques MIB, sont d’autre part autant d’éléments qui garantissent une sécurité sans faille.L’acquisition et l’envoi de documents couleur vers e-mail, vers boites aux lettres, vers file d’attente sont disponibles en standard sur le contrôleur et accessibles du poste utilisateur.

Le ColorPASS Z3000 pour CLC 2620, contrôleur réseau de technologie EFI, garantit une puissance de traitement grâce au processeur Intel Pentium IV de 2.4 GHz et à un disque dur de 60 Go. Il gère le management des données variables et assure un contrôle expert des flux d’impression.

Sa puissance de traitement et ses nombreux utilitaires arts graphiques intégrés lui conféreront un usage particulièrement dédié aux Arts Graphiques et à la production de courts tirages couleur.

Les atouts de la série 3220

Une qualité d’impression laser proche d’une finition offset. Une encre polymère à particules sphériques, une fixation sans huile, l’intégration de la technologie propriétaire Canon « Super Smoothing Technology » ainsi qu’un tube de lumière xénon permettant une meilleure stabilité des couleurs au niveau du scan, sont autant d’éléments qui optimisent la qualité d’impression des iRC 2620N et CLC 2620. La résolution d’impression atteint 2400 équivalent x 600 dpi, en 256 couleurs. Les documents couleur affichent un aspect professionnel caractérisé par une finition mate de type « offset ».

Une productivité garantie

Les iRC 2620N et CLC 2620 sont équipés de 4 tambours en ligne. De cette technologie résulte gain de productivité et acceptation de supports variés - dont des forts grammages jusqu’à 253 g/m² - dus à un point d’impact papier unique. Les deux systèmes impriment ainsi aussi vite en couleur qu’en noir et blanc à la vitesse de 32 ppm. Ils offrent d’autre part une vitesse ultra performante en recto verso de 26 ppm.

Leurs 6 sources d’alimentation leur garantissent une grande autonomie papier avec une capacité maximale de 4800 feuilles. Les 4 cassettes universelles de même que l’unité recto verso automatique acceptent les grammages de 64 à 209g/m² et les formats A3+ (305 x 457 mm) et A3 ++ (320 x 450 mm).

Ils disposent en outre de nombreuses fonctions permettant des gains de productivité notoires : scan unique/impression multiple, rotation automatique de l’image, système de compression d’image permettant de convertir les scans dans des PDF restreints et légers facilitant ainsi l’envoi et l’impression ...

Compacité, accessibilité, simplicité d’utilisation

La compacité des iRC 2620N et CLC 2620 (620 x 786 x 1040 mm) - source de gain d’espace et d’économie d’énergie - leur polyvalence, simplicité d’utilisation (large écran tactile couleur) et fiabilité (résultant notamment d’un circuit papier court) devrait séduire les professionnels.

Des fonctions de communication intelligentes

Les fonctions d’envoi peuvent être optimisées au départ des systèmes par le Kit Fonctions d’envoi disponible en option (Envoi vers boites aux lettres, vers e-mail, vers i-fax, vers serveur de fichiers et vers bases de données) qui démultiplie l’efficacité des échanges tout en réduisant les temps et coûts de transmission. Une carte fax super G3 est également disponible.

La recherche instantanée d’adresses peut-être effectuée avec un serveur LDAP (Lightweight Directory Access Protocol), elle permet à l’utilisateur d’adresser directement un document au carnet d’adresses de l’entreprise (e-mail, fax ...) et garantit de ce fait gain de temps et exactitude des données concernant les destinataires.

Prix et disponibilités : les différentes versions seront disponibles courant janvier aux prix publics suivants :

iRC 2620N Imprimante : 13 000 Euros

HTiRC 2620N Copieur-imprimante : 14 700 Euros

HTCLC 2620 Copieur : 11 600 Euros HT (moteur + lecteur/scanner)

CLC 3220 Imprimante : 17 400 Euros HT (moteur + Color PASS 3220)

CLC 3220 Copieur-imprimante : 19 100 Euros HT (moteur + lecteur/scanner + Color PASS 3220)

Drouot Bilan Encheres 2005

Marché de l’art > Enchères > Résultats de ventes > Drouot > Bilan définitif année 2005

DROUOT vient d’annoncer les résultats de son bilan définitif pour l’année 2005. Avec une progression des ventes de 18 % Drouot est l’un des acteurs les plus dynamiques d’une place parisienne en pleine croissance. Ce résultat concerne l’ensemble des ventes mais les oeuvres d’art y tiennent une place très largement prépondérante. A Paris, 60 % des ventes publiques d’oeuvres d’art ont été réalisées à Drouot en 2005.

- 162 enchères supérieures à 150 000 €, dont 12 supérieures à 1 million €

- une année 2005 marquée par la dispersion de collections prestigieuses à DROUOT

- grand succès des arts décoratifs du XXe siècle, des arts premiers, des bijoux, de la porcelaine et des dessins anciens

Le produit des ventes aux enchères dans les lieux de ventes de DROUOT en 2005 (DROUOT-Richelieu, DROUOT-Montaigne, DROUOT-Nord et DROUOT-Véhicules) s’élève à 428 millions d’euros, frais compris.

Si l’on prend en compte uniquement les ventes d’oeuvres d’art (c’est à dire les ventes de DROUOT-Richelieu et DROUOT-Montaigne), le produit s’élève à 420 millions d’euros, frais compris.

Ces chiffres marquent une très nette progression par rapport à 2004 (+18%), et même par rapport à 2003 (+12%), considérée alors comme une saison exceptionnelle avec la vente André Breton.

Georges Delettrez, président de DROUOT-Holding, déclare :

« Avec un produit de vente en très nette augmentation cette année (+18%), DROUOT est l’un des intervenants les plus dynamiques du marché et contribue largement à la forte progression de la place parisienne. DROUOT maintient ses parts de marché en réalisant, cette année encore, plus de 60% des ventes publiques d’oeuvres d’art à Paris.

Cette performance a été atteinte grâce à plusieurs collections prestigieuses de niveau international, dont certaines venues de l’étranger, qui ont choisi DROUOT pour être dispersées. Les commissaires-priseurs de DROUOT ont réalisé un travail formidable pour susciter l’intérêt des acheteurs du monde entier et ont enregistré de nombreuses enchères records ».

Après un premier semestre 2005 en nette progression (+15%), surtout grâce à un mois de juin particulièrement dynamique (+43% par rapport à juin 2004), le second semestre confirme la tendance avec une augmentation de + 18% par rapport à la fin de l’année 2004, due surtout aux performances enregistrées aux mois d’octobre et de novembre (respectivement +27% et +46% par rapport aux même mois 2004).

162 enchères ont dépassé 150 000 € à DROUOT au cours de l’année 2005 (30% de plus qu’en 2004), dont 12 supérieures à 1 million €.

Sur les 10 plus hautes enchères réalisées à Paris en 2005, la moitié l’a été à DROUOT, dans des spécialités différentes.

Après avoir occupé le devant de la scène parisienne pendant tout le 1er semestre 2005, des sculptures précolombiennes de Gérard Geiger aux statues d’art africain de Béla Hein et des robes de Paul Poiret aux fauteuils d’Eileen Gray, DROUOT s’est particulièrement illustré au second semestre avec des collections et des enchères de haut niveau pour les bijoux, la porcelaine et les dessins anciens.

DROUOT a accueilli un nombre particulièrement important de collections prestigieuses, réalisant des produits de ventes élevés.

La plus importante collection en terme de produit de vente à DROUOT est la dispersion du fonds de la librairie Pierre Bérès : en trois ventes (juillet, 28 octobre et 16 décembre , SVV Pierre Bergé & Associés) un produit de près de 12 millions € a déjà été atteint, et les vacations se poursuivront en 2006.

Les six fauteuils « à la sirène » d’Eileen Gray provenant de la chanteuse Damia et dispersés le 1er juin 2005 à DROUOT (SVV Camard & Associés) ont totalisé un montant historique de 8 950 000 €, l’un d’eux atteignant à lui seul 1 744 728 € et devenant le fauteuil le plus cher du monde en ventes publiques. L’ensemble de la vente d’arts décoratifs du XXe siècle a totalisé un produit de 13,6 millions €, le plus important en France au premier semestre 2005.

Le succès des artistes d’origine russe et le dynamisme des collectionneurs de ce pays se sont confirmés cette année. La collection des tableaux de Mstislav DOBUZHINSKI, provenant de la succession de son fils, ont surpassé les attentes les plus optimistes avec un produit de plus de 7 millions € en deux vacations, et plusieurs records du monde pour cet artiste très connu en Russie et aux Etats-Unis (24 juin et 23 novembre 2005 , SVV Le Roux, Morel , Mathias , Baron, Ribeyre).

La collection Gérard GEIGER (14 et 15 mars 2005 - SVV Binoche) a totalisé pour sa part un produit vendu de 6,2 millions €, record mondial pour une vente d’art précolombien, avec plusieurs records mondiaux, notamment pour un sculpture Pucara à 912.000 €, pour un masque Téotihuacan à 480 000 € et pour une figure Mezcala à 198 000 €.

L’ancienne collection Béla HEIN (6 juin 2005 - SVV Fraysse) a réalisé un produit de près de 5,7 millions € et enregistré plusieurs records du monde, notamment pour un masque LEGA à 2,4 millions €.

L’écrin extraordinaire de Madame Simone del Duca a été célébré par des enchères à la hauteur de la qualité exceptionnelle des bijoux (23 novembre 2005 , Coutau-Bégarie) : avec un produit vendu de 5,4 millions €, la vente a enregistré plusieurs très hautes enchères, dont les 2 025 380 € portés sur la bague en platine ornée d’un diamant de 43,82 carats, record français pour un diamant blanc.

Autre belle collection dispersée à DROUOT, celle de Marcel Jeanson (25 novembre , SVV Doutrebente), qui a totalisé près de 2 865 000 € pour les 17 aquarelles de Jacques BARRABAND, dont la plus importante, « Perroquet Lori à collier jaune » a été adjugée 389 000 €, record mondial pour l’artiste.

Les 11 œuvres provenant du château de Vaux-le-Vicomte ont totalisé un produit de 1 370 000 €, au cours des vacations du 17 juin et du 2 décembre (SVV Beaussant, Lefèvre). A retenir notamment la paire de faisans en porcelaine de la Chine adjugée 530 800 € et les trois tapisseries classées Monuments Historiques, dont la plus importante adjugée 131 000 €.

Sans oublier également la garde-robe de Denise et Paul POIRET mise en vente par la petite fille du célèbre couturier (10 et 11 mai 2005 , SVV PIASA) qui avait enregistré un produit historique de 1 883 814 € et plusieurs records mondiaux, la collection d’un grand amateur français d’art asiatique (18 novembre 2005 , SVV Beaussant Lefèvre) qui a totalisé un produit de 2 027 770 €, la collection du professeur Jean-Claude Binet qui a atteint 1 596 000 € (14 décembre , SVV PIASA), ou encore la collection de la fondation Veranneman dispersée à l’occasion de la FIAC pour un montant de 1 403 867 €, dans une vente totalisant plus de 3,5 millions € (8 octobre 2005 , SVV Cornette de Saint-Cyr).

A côté de ces collections, plusieurs belles provenances ont fait flamber les enchères, notamment pour la céramique : 105 800 € pour la marronnière et son plateau ayant appartenu à Madame de Pompadour, préemptés par le Louvre (Drouot , 9 décembre , Millon & Associés), 165 000 € pour le service en porcelaine de la duchesse de Berri (Drouot , 25 novembre , Doutrebente), ou encore 439 000 € encore pour un extraordinaire service en porcelaine de Naples, record du monde (Drouot , 5 décembre , PIASA).

Sony Cyber-shot DSC-T33 Camera

SONY DSC-T33 Camera 

 

 

 

Sony's best-selling Cyber-shot® T-series of digital still cameras just got even slimmer with the introduction of the 5.1-megapixel DSC-T33 model.

 

With a depth of just one-half inch, the new camera packs a range of powerful features into Sony's thinnest model to date. It sports a large 2.5-inch LCD viewfinder, occupying about two-thirds of the back of the camera, so friends and family can gather round and enjoy images the moment they are captured.

Incredible Image Quality

One of the camera's most distinctive features is an anti-reflection Clear Photo LCD, ^™ which enhances viewing quality by preventing reflected light from interfering with the displayed image. The LCD offers a number of improvements, including higher contrast, brightness and resolution. Whether you're entertaining at home or snowboarding with the family, the LCD allows you to spot your subject easily, no matter the lighting conditions.

"The T33 is a worthy addition to our outstanding line of T Series digital cameras," said Hiroshi Takahashi, vice president for digital imaging at Sony Electronics. "Its improved visibility and refined design make it a must-have for image-conscious consumers looking for a powerful yet stylish digital camera."

Easier to Operate

The new camera is simple to use, incorporating a built-in, electrically-operated lens cover that opens instantly so you never miss a shot. With a single push of the power button, it springs to life in less than a second. A subtle relocation of controls also makes the camera easier to grip and operate.

The camera maintains its trim design thanks to a Carl Zeiss® Vario-Tessar® optical lens, which operates within the camera rather than extending out. It also has a 5.1 megapixel CCD image sensor and a 3X optical zoom to ensure cutting-edge image quality.

Speed and Stamina to Spare

Sony's Real Imaging Processor™ circuitry, in the Cyber-shot T33 is lighting fast, so it can shoot full-resolution images at one-second intervals. And with approximately 180 shots per charge of the camera's InfoLithium™ battery, you can snap away to your heart's content without fear of running down the power.

The T33 camera offers more than great still pictures. With optional Memory Stick PRO Duo™ media cards, the camera can capture and play back high-resolution motion video. The MPEG-VX Fine mode helps to record MPEG video with 640x480 pixel resolution at 30 frames per second, up to the capacity of the memory card being used.

Cyber-shot Station

With the supplied Cyber-Shot Station USB cradle, there's now a better place to put your digital camera other than a dresser drawer or desk. Using the cradle, the DSC-T33 camera can play back slideshows on a TV or transfer images to your PC -- all while charging the camera's batteries. And when connected to a PictBridge^™-compatible printer, such as Sony's PictureStation^® DPP-FP30 digital photo printer, printing a specific image is a breeze.

The Cyber-shot DSC-T33 camera will be available in March for about $450.

Archos ARCDrive 4GB USB Key

Archos announced today at the Consumer Electronics Show 2005 the new ARCDrive 4GB USB key stick hard drive. The device will be available in the first quarter of 2005 and will be demonstrated on the Archos booth at CES.

Featuring an extremely compact and light-weight design (weighing only 1.4 ounces, 40 grams) and foldable USB connector, the ARCDrive 4GB USB key is ideal for storing and transporting computer files, documents, music, videos and photos while on the go. Simply plug the device into a PC or Macintosh and instantly transfer data using the high-speed USB 2.0 interface.

Ultra Portable Storage Solution

The ARCDrive* 4GB USB key expands on ARCHOS’ successful line of ARCDrive external hard drives, which include Hitachi drives and 20GB and 40GB models, and allows consumers to do the following tasks effortlessly:

• Quickly add a hard drive to a PC or Macintosh for backing up files.
• Download, store and transfer data, music, videos or photos using the high-speed USB 2.0 interface (USB 1.1 compatible).
• Connect to other peripheral devices without turning off the computer (hot swappable).
• Enjoy greater mobility with a slim, light-weight design and a built-in, foldable USB connector and key-ring attachment.
• Save time and space by eliminating the need for cables or external power cords.

"The new ARCDrive 4GB USB key provides a convenient and compact storage solution for a variety of personal and business requirements," said Henri Crohas, chief executive officer of ARCHOS, Inc. "We spent nearly all of 2004 building video, audio and storage products with capabilities unseen in the industry, while revolutionizing in form factor and sleek and simple designs. The result has been products that are far ahead of the competition in features and form and have been received tremendously well by consumers."

The ARCDrive 4GB USB key adds to ARCHOS’ complete line of ARCDrive storage products that combine sleek with substantial in 4GB, 20GB, and 40GB versions. The ARCHOS ARCDrive products are all high-speed USB 2.0-based drives designed for consumers and professionals who need added storage for transferring files to multiple computers, backing up entire computer hard drives, or carrying important media, files and documents with them wherever they go. The ARCDrive products are designed to fit easily in your pocket and feature the well-known ARCHOS stylish form factor, also seen in ARCHOS’ popular Portable Video Players (PVPs). The ARCDrives round out the company’s strategy to delivery the most innovative, high-quality, pocket-sized devices in the portable video, audio and storage categories.

The ARCDrive 4GB USB key will be available in late January 2005 and is priced at $149.95 U.S. and 149.99 € in Europe. The 20GB and 40GB ARCDrive products are available immediately and priced at $199.95 and $249.95 U.S, and 199.99 € and 249.99 € in Europe, respectively.

Image product (c) 2005 - Archos. All rights reserved

Anselm Kiefer, Frauen, Villa Medicis, Rome

ANSELM KIEFER

DIE FRAUEN

VILLA MEDICIS, ROME
27 janvier - 8 mars 2005

L’Académie de France à Rome organise une grande exposition consacrée à Anselm Kiefer et son oeuvre. L’exposition présente une vision de l’oeuvre de cet artiste, notamment autour d’une thématique spécifique: les figures féminines les plus représentatives de l’histoire et de la mythologie classique et germanique.

L’exposition se déroulera le long d’un parcours qui, des Grandes Galeries jusqu’à l’Atelier Balthus, situé dans les jardins de la Villa Médicis, dessinera les contours de ce voyage parmi les grandes icônes féminines du passé, des Reines de France aux poétesses grecques, jusqu’aux vestales, aux divinités et aux figures mythologiques, de Madame de Staël à Bérénice, de Sapho à Daphné. 

Une vaste gamme d’oeuvres, pour la plupart inédites, la majorité desquelles réalisées sur place et exclusivement pour l’exposition à l’Académie de France, entre dessins, peintures, livres, sculptures et installations, qui raconteront l’Histoire à travers des voix de femmes.

BIOGRAPHIE

ANSELM KIEFER est né le 8 mars 1945, à Donaueschingen, dans le  Baden-Wüttemberg. En 1965, après son diplôme, il entreprend des études de droit à la Albert Ludwig Universität de Fribourg, qu’il interrompt en 1966 pour ne se consacrer qu’à la peinture. 

Il fréquente la Staatliche Hochschule der Bildenden Künste et est l’élève de Peter Dreher. En 1969, il est à la Kunstakademie de Karlsruhe, auprès de Horst Antes, et inaugure sa première exposition  individuelle à la Galerie am Kaiserplatz de Karlsruhe.

Entre 1970 et 1972, il est l’élève de Joseph Beuys  à la  Düsseldorf Kunstakademie. A partir de ce moment, sa biographie est confiée presque exclusivement à une lapidaire « Autobiographie », présentée dans le catalogue  de l’exposition individuelle de 1977 au Bonner Kunstverein, et à une longue liste de présences aux expositions, individuelles ainsi que collectives, dans différents musées et centres d’exposition parmi les plus importants du monde.

Il participe en effet à la Documenta à Kassel en 1977 et 1982. En 1980, le cycle  Verbrennen, verholzen, versenken, versanden, exposé à la Biennale de Venise, suscite de remarquables controverses.

En 1984, l’exposition personnelle à la  Staatliche Kunsthalle de Düsseldorf a un énorme succès et est ensuite « exportée », d’abord au Musée d’Art Moderne de la Ville de Paris, ensuite à l’Israël Museum  de Jérusalem.

L’exposition itinérante aux Etats Unis, entre 1984 et 1987, le consacrera définitivement artiste de niveau international.

Depuis 1993, il réside à Barjac, en France, et a transformé son studio de 35 hectares en une oeuvre d’art globale. 

En 2003 et 2004, il a participé à d’importantes expositions collectives et individuelles et notamment en Italie : au Museo Archeologico Nazionale de Naples, commissaires Mario Codognato et Edoardo Cicelyn, et à l’Hangar la Bicocca de la Fondation Pirelli à Milan « Sieben Himmelspaläste » commissaire Lia Rumma. Il a par ailleurs réalisé les costumes et les décors pour l’« Oedipus auf Kolonos » avec la mise  en scène de Klaus Michael Gruber au Burgtheater de Vienne et l’ « Elektra » au Théâtre San Carlo de Naples.

L’exposition sera accompagnée d’un livre d’art publié par la maison d’édition  Edizioni dell’Elefante en collaboration avec l’Académie de France à Rome. Ce livre comprend l’introduction du Directeur de l’Académie de France à Rome Richard Peduzzi, les textes de Henri Loyrette, Pierre Morel, Giacomo Marramao, une digression historique de Philippe Dagen et sera illustré avec les photographies de Claudio Abate. Ce livre d’art a comme but de constituer un document tangible du passage de l’artiste à Rome et en particulier au sein de l’Académie de France. 

Accademia di Francia a Roma - Villa Medici
Académie de France à Rome - Villa Médicis
Viale Trinità dei Monti, 1 - 00187 Roma

Horaires: 11h00 – 19h00 sans interruption 
Jour de fermeture: mardi
Entrée: 8 Euro (plein tarif) 4.50 Euro (tarif réduit).

Cette exposition est réalisée grâce au soutien du Ministère français de la Culture et de la Communication – Délégation aux  Arts Plastiques, en collaboration avec les  Incontri Internazionali d’Arte et avec la participation d'Air France, de  Hydrowatt, de  Reggiani S.p.a. Illuminazione, de Assicurazioni Generali et de Castello del Terriccio.

First Moscow Biennale of Contemporary Art

First Moscow Biennale of Contemporary Art
28 January - 28 February, 2005

Why a New Biennale in Moscow?

The First Moscow Biennale of Contemporary Art, initiated by the Ministry of Culture of the Russian Federation, marks an important step forward in the process of reintegrating contemporary Russian art into the international art world.

One of the most obvious consequences of political and economical stabilisation in Russia is the growing interest of Russian society in contemporary culture, and more precisely contemporary art. In the last decade a totally new Russian art infrastructure has emerged through art fairs, galleries, non-profit exhibition spaces, festivals and conferences. For these reasons, 2005 is the right time for Moscow to create a major international art event, the first of its kind in the country.

The Moscow Biennale aims to become not only a great event in the artistic life of Moscow and Russia but also to play an important social, cultural and political role internationally. It is intended to be not only a particular powerful event, but a new institutional project that will strengthen relationships between curators, art historians, managers, federal authorities, sponsors and trustees, mass media and public opinion on contemporary art both in and outside Russia itself. It is the organisers’ intention that The Moscow Biennale will become a reproducible strong structure that will find its place in the network of other major international art forums.

The Theme of Biennale

Under the theme, Dialectics of Hope, the main exhibition will present art that focuses on one of the most fundamental experiences of a modern human being: hope. On the one hand, hope exists as a private existential feeling, touching particularly on issues of care or caring, on the other it is found in the older Utopian vision of a shared social feeling. The dialectical character of hope today as well as its emergence in different forms of contemporary art will be the focus for the exhibition, reflecting the influence that social and political changes exert on the way we attempt to anticipate our own future and the development of the societies to which we belong. In politically turbulent and worrying times, the function of hope as an organising principle of our lives becomes increasingly apparent.

Structure

The first Moscow Biennale will include a main project organized by its international curatorial team, and a series of parallel events. The selection of artists and the development of the main projects have been a collective endeavour of the curatorial team.

The 2005 exhibition is the first element of a larger project conceived as a trans-generational endeavour that will unfold in a series of steps until 2007. This first manifestation concentrates on young artists from all over the world. Its main aim is to describe the state of contemporary art and the new issues addressed by the artists of the 21st century. The same curatorial team will also work on the 2007 exhibition.

The main project of the Moscow Biennale 2005 will be accompanied by a series of special projects and a wide parallel program representing contemporary art from Russia and the former Soviet Union. The events will be held in a number of key venues in and around the centre of the city of Moscow.

Curators

- Joseph Backstein, Co-ordinating Curator (Russia), Deputy Director of the State Centre for Museums and Exhibitions ROSIZO — Curator of the Russian exhibition at the 25th Biennale in Sao Paolo, 2002 — Curator of the Russian Pavilion at the 48th Venice Biennale, 1999.

- Daniel Birnbaum (Sweden/Germany), Rector of the Stadelschule Art Academy, Frankfurt am Main and Director of Kunsthalle Portikus — Co-curator of the Italian Pavilion at the 50th Venice Biennale, 2003 — International Foundation Manifesta Board Member (Amsterdam), since 2000.

- Iara Boubnova (Bulgaria), Director of the Institute of Contemporary Art, Sofia — International Foundation Manifesta Board Member, since 2002 — Co-curator of Manifesta 4 (Frankfurt am Main), 2002 — Curator of Bulgarian National Participation in the 48th Venice Biennale, 1999.

- Nicolas Bourriaud (France), Director of the Palais de Tokyo, Paris (with Jerome Sans), Founder & Director of the magazine Documents — Co-Curator of the Lyon Biennale of Contemporary Art, 2005 — Curator of the Aperto at the 45th Venice Biennale, 1993 — Curator of Unmoving Short Movies at the Venice Biennale, 1990.

- Rosa Martinez (Spain), Artistic Director of the Arsenale, Venice Biennale, 2005 — Chief Curator of the Istanbul Museum of Modern Art — Curator of the Spanish pavilion at the 50th Venice Biennale, 2003 — Curator of the 3rd SITE Santa Fe Biennale (New Mexico), 1999 — Artistic Director of the 5th International Istanbul Biennale, 1997.

- Hans Ulrich Obrist (Switzerland/France), Curator at the Musee d’Art Moderne de la Ville de Paris and Co-curator of the exhibitions Cities on the Move, Laboratorium, Utopia Station at the 50th Venice Biennale, 1st Berlin Biennale, Manifesta 1. The first volume of his ongoing interview project was recently published: Hans Ulrich Obrist Interviews (Milan: Edizioni Charta, Pitti Imagine 2003).

Chairman of the Organizing Committee: Michail Shvydkoy, Head of the Federal Agency for Culture and Film.

Commissioner: Evgeny Zyablov, Director of the State Centre for Museums and Exhibitions ROSIZO.

Venues

The main project will be realised at the former Lenin Museum, in the very centre of Moscow, near the Red Square. Built in 1892 as the Moscow City Hall, in October 1917 the building became residence of the Committee on Public Security which aimed to prevent the developing revolution. When Soviet power was established, it was first occupied by the Moscow Soviet and then by the Moscow Trade Union Soviet, and since 1936 served as the Lenin Museum, a unique collection of items related to Lenin’s life and activity.

Second part of the main project will occupy the Schusev State Museum of Architecture. Third part of it will be located at the metro station Vorobyevy Gory (Sparrow Hills, former Lenin Hills) — the longest station of the Moscow Metro.

Website: www.moscowbiennale.ru