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Art Brussels

stratos — Mon, 14 Apr 2008 07:22:22 +0000

Participating galleries:

http://www.artexis.com/artbrussels/home.htm

Louise Bourgeois

stratos — Sat, 12 Apr 2008 08:12:23 +0000

Centre Pompidou 5 March to 2 June 2008

This March, the Centre Pompidou will be presenting the first extensive retrospective showcasing Louise Bourgeois' work since the exhibition that the Musée d'Art Moderne de la Ville de Paris held in 1995. This retrospective has been organised with the London Tate Modern and will feature around 200 sculptures, paintings, drawings and engravings she produced between 1940 and 2007, with a special focus on the past decade and this 95-year-old artist's knack for relentlessly rejuvenating her artistic language.

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Louise Bourgeois en 1990 avec sa sculpture en marbre Eye to Eye (1970). © ADAGP, Paris, 2008.
© Photo: Raimon Ramis, D.R.

Stars and Divas - 50 examples of Glamour Photography

stratos — Mon, 17 Mar 2008 07:47:10 +0000

Exceptional people must be stage-managed in exceptional ways. 50 selected examples from our own collection provide a glimpse into the genre of glamour photography, which developed in the wake of the triumph of the film and the burgeoning star cult of the 1920s. The sweep of the exhibition encompasses figures such as Asta Nielsen, one of the first European film stars, to a series of portraits of Romy Schneider. The pictures include Arnold Genthe’s portrait of the dancer Isadora Duncan, Irving Penn’s celebrated photos of Marlene Dietrich and portraits of various actors by Lieselotte Strelow and F.C. Gundlach. From the Atelier d’ Ora-Benda, one of the focal points of the collection, comes a considerable selection of star portraits: Here you can see a radiant Maurice Chevalier, Marlene Dietrich in her youth, Josefine Baker and the Dolly Sisters posing for the camera.

Photo: Atelier Manassé (Vienna 1924 – 1936)
Lil Dagover (Madiun/Java 1887 – 1980 Munich-Geiselgasteig) Actress / Gelatine Silver Print / around 1930

http://www.mkg-hamburg.de

PULSE NEW YORK- 27-30 March 2008

stratos — Fri, 14 Mar 2008 16:07:54 +0000

PULSE NEW YORK 08 EXHIBITORS
ARTWARE editions (New York), Jeff Bailey Gallery (New York), Galeria Baró Cruz (São Paulo), ANNE BARRAULT (Paris), Galerie Anita Beckers (Frankfurt), Bonelli Arte Contemporanea (Mantua), RENA BRANSTEN GALLERY (San Francisco), Catharine Clark Gallery (San Francisco), CONNER CONTEMPORARY ART (Washington, DC), CONRADS (Düsseldorf), DCKT Contemporary, Inc. (New York), DNA (Berlin), envoy (New York), Espacio Liquido (Gijón), FAURSCHOU COPENHAGEN & BEIJING (Copenhagen/Beijing), LUKAS FEICHTNER GALLERY (Vienna), Rosamund Felsen Gallery (Santa Monica), fiedler contemporary (Cologne), Finesilver Gallery (Houston), Enrico Fornello (Prato), Freight + Volume (New York), GALERÍA FÚCARES (Madrid), galerieKleindienst (Leipzig), Caren Golden Fine Art (New York), Carl Hammer Gallery (Chicago), GALERIE ERNST HILGER/ hilger contemporary (Vienna), Pippy Houldsworth Gallery (London), iCI (New York), Inman Gallery (Houston), Priska C. Juschka Fine Art (New York), KINZ, TILLOU + FEIGEN (New York), Bernhard Knaus Fine Art (Frankfurt), KNOLL GALLERIES (Vienna/Budapest), NATHAN LARRAMENDY GALLERY (Ojai), Richard Levy Gallery (Albuquerque), Lyons Wier Ortt Gallery (New York), Walter Maciel Gallery (Los Angeles), Magnan Projects (New York), nina menocal (Mexico City), Nicholas Metivier Gallery (Toronto), Yossi Milo Gallery (New York), Mixed Greens (New York), moniquemeloche (Chicago), Mark Moore Gallery (Santa Monica), magnus müller (Berlin), MUMMERY + SCHNELLE (London), New York Foundation for the Arts (New York), ALEXANDER OCHS GALLERY BERLIN | BEIJING (Berlin/Beijing), One in the Other (London), P.P.O.W (New York), Parker’s Box (Brooklyn), perugi artecontemporanea (Padua), Galerie Stefan Röpke (Cologne), Monya Rowe (New York), Rubicon Gallery Dublin (Dublin), Saatchi Online (London), Julie Saul Gallery (New York), Schroeder Romero (New York), Michael Schultz Gallery Beijing | Seoul | Berlin (Beijing/Seoul/Berlin), Carrie Secrist Gallery (Chicago), galleria SENDA/Espai 2nou2 (Barcelona), SPRINGER & WINCKLER GALERIE (Berlin), Galerie Tanit (Munich), Margaret Thatcher Projects (New York), Torch Gallery (Amsterdam), UNION (London), Virgil de Voldere Gallery (New York), Von Lintel Gallery (New York), Winkleman Gallery (New York), Galerie Zürcher (Paris)

info: http://www.pulse-art.com/

Man Ray

stratos — Fri, 23 Nov 2007 13:12:28 +0000

Man Ray: This 1916-17 photograph never ceases to amaze me.

Choreographer Maurice Bejart dies

stratos — Fri, 23 Nov 2007 06:12:16 +0000

French choreographer Maurice Bejart has died at the age of 80. Born on January 1, 1927 in Marseilles, Bejart -- real name Maurice Berger -- studied dance in London and Paris before becoming a leading avant-garde choreographer in the 1950s. His last work, "Around the World in Eighty Minutes," is due to be premiered in Lausanne on December 20. In the course of his great career, Bejart directed stars such as Sylvie Guillem and Mikhail Baryshnikov.

His ashes will be spread on the seaside of Oostende, Belgium.

So Long Artist.

Review: Babble on to Babylon

stratos — Sat, 27 Oct 2007 06:37:54 +0000

His poems are free in form, receptive to rhyme and meter as the occasion serves and efficient at combining poetry and prose within the same poem. But words fascinate him and he expresses this with great variety and notable ingenuity. Unrelated words become bedfellows if they have sounds in common or if they differ in sound but somewhere have links in meaning.
Reviewed by Bob Williams

Review: Babble on to Babylon
by Blem Vide
PretendGenius Press 2004, ISBN 0-9747261-8-4, $11.95, 171 pages

This is an outsiders’ book. These poems – witty, irreverent and spiced with allusions drawn from many sources – will appeal to the patient and receptive reader. The audience for poetry is small and the special demands of Vide’s poetry will involve even fewer readers but those readers will find much in this collection to make their experience abundantly joyous. The reader should pay attention to the phrasing of the copyright notice, engagingly different. The cover, like all PretendGenius books, is very handsome and is mainly the work in this case of the author.

In one of Aldous Huxley’s novels a character becomes entranced with the phrase “Black ladders lack bladders.” Vide is similarly fascinated with this and all kinds of verbal play. His poems are free in form, receptive to rhyme and meter as the occasion serves and efficient at combining poetry and prose within the same poem. But words fascinate him and he expresses this with great variety and notable ingenuity. Unrelated words become bedfellows if they have sounds in common or if they differ in sound but somewhere have links in meaning. An example of the latter is in Vide’s ‘Serve the Creative Impulse, Idiots’ – a work in which poetry and prose live together happily – “And I want to be regarded as an Elvis Presley look-alike. On the double.”

When he does not make these unaccustomed combinations through sense or sound, he resorts felicitously to puns as in this example from ‘Rigva Raga Loop:’ “pomes never end/they just go republic.”

There are poems in which his fascination with sound sets meaning aside in favor of a personal language that cannot be construed.

“Agawon. I supter. Sun blackness.
‘On toma volute nagavini!’”
‘Ulahan the Latuganist’

There are two qualities in which Vide especially excels. He frequently addresses the reader directly and in ways that arrest the attention. He also plants within his poems sharp and witty observations that send the reader an electric jolt of pleasure and recognition.

“Not every house is
a limousine, but not every house can speak cottage.”

“This was my back porch before I stole it from the cops.”

“Vanity is nothing to
fear, unless you are intimidated by beauty.”

“if a taxpayer dreams
forest in the ocean
is there a gov’t to poison the world?”

“god never serves food
on good dinnerware
when we’re at the table”

The last quotation strongly recalls Emily Dickinson’s observation about God’s table being too high for us unless we dine on tiptoe.

‘Protecting Intellectual Property by Giving It Away Free’ also has its background, shadowy and suggested, of a writer familiar with Finnegans Wake. It has the same stubborn march and carefully plotted variety of the first thirteen pages of Joyce’s chapter six. If not done in the neighborhood of Finnegans Wake, it is an interestingly Borgesian coincidence.

This is a long book for a collection of poetry and it could have been better as a book if Vide had chosen fewer poems for some are notably better than others. But, as a documentation of a writer, with much accomplished and much still to offer, this is a selection that will acquire additional meaning and value as we have the felicitous opportunity of seeing more of his work.
To buy: http://www.amazon.ca/Babble-Babylon-Blem-Vide/dp/0974726184
From: http://www.compulsivereader.com/html/index.php?name=News&file=article&sid=774

Cover designed by Stratos and the Writer

as Nabokov was saying...

stratos — Wed, 18 Jul 2007 04:21:54 +0000

Vladimir Nabokov
(April 22, 1899, Saint Petersburg – July 2, 1977, Montreux)

Now, why am I posting about Nabokov out of the blue. Well, first of all it's summer and I'm about to select some old-read books + buy some new ones for the holidays in some lovely Greek Island. While am at all this Nabokov came to mind as I stumled upon an old edition of a "Norton Reader" volume, looked under "literature and the Arts" and my eye caught this excerpt from a Nabokov's lecture on literature(1980) where among other he declares that:

"Curiously enough, one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader..." .

I'm not going to go any further writing on this, as Nabokov dialectically develops his reasoning, this will take too much of my time and besides, this post is intended to stay short. I hope I made my point. It's the heat of July...

a Wikipedia photo of Nabokov

due to a classification

stratos — Fri, 18 May 2007 17:19:28 +0000

As my new work will probably be classified as a New Realism of some kind, though I dislike any classification, I am posting a few words on the whereabouts of this so-called movement...

From: a Centre Pompidou location

Nouveau Rationalisme, New Realism, was founded in October 1960 with a joint declaration whose signatories were Yves Klein, Arman, Francois DufrÃªne, Raymond Hains, Pierre Restany, Daniel Spoerri, Jean Tinguely and Jacques de la VilleglÃ©; in 1961 these were joined by CÃ©sar, Mimmo Rotella, then Niki de Saint Phalle and Gerard Deschamps.
These artists declared that they had come together on the basis of a new awareness of their "collective singularity". For all the diversity of their plastic language, they did indeed perceive a common basis for their work, this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a "poetic recycling of urban, industrial and advertising reality" (60/90. Trente ans de Nouveau RÃ©alisme, La DiffÃ©rence, 1990, p 76).
Their group activity and the exhibitions they mounted together covered the period from 1962 to 1963, but the history of New Realism continued at least up until 1970, the year of the group's tenth anniversary, which was marked by the organisation of large-scale events.
Much as this new awareness of a "collective singularity" was decisive, their grouping was clearly motivated by the intervention and the theoretical input of the art critic Pierre Restany. Being first interested by abstract art, he moved towards the elaboration of a sociological aesthetic after his meeting with Klein in 1958, and in large part the group's theoretical justification was his.
The term Nouveau RÃ©alisme (New Realism) was forged by Pierre Restany during an early group exhibition in May 1960. By returning to "realism" as a category, he was referring to the 19th-century artistic and literary movement which aimed to describe ordinary everyday reality without any idealisation. Yet, this realism was "new", in the sense that there was a Nouveau Roman in fiction and a New Wave in film: in the first place it connects itself to the new reality deriving from an urban consumer society, in the second place its descriptive mode is also new because it no longer is identified with a representation through the making of an appropriate image, but consists in the presentation of the object chosen by the artist.
It is also thanks to Pierre Restany that New Realism was defended on the international scene in the face of an emerging American art form, Pop Art, and financially supported by a network of dealers and collectors.

up:Raymond Hains, Panneau dâ€™affichage (Billboard), 1960
Torn posters on panel of galvanised sheet metal
200 x 150 cm

bottom: Yves Klein, Monochrome Bleu (Monochrome Blue) (IKB 3), 1960
Pure pigment and synthetic resin on canvas mounted on wood
199 x 153 cm

The Low Countries Yearbook

stratos — Fri, 20 Oct 2006 05:09:05 +0000

This fourteenth yearbook is published by the Flemish-Netherlands Association "Ons Erfdeel vzw", with the support of the Dutch Ministry o Education, Culture and Science (The Hague) and the Flemish Ministry.

This yearbook seeks to provide a picture of literary, cultural and social life in Flanders and the Netherlands, and is also concerned with the relationships between the English-speaking and Dutch-speaking worlds. Since 1993. 320 pages/full colour

an excerpt from its contents
Out and about with Bruegel
by: Manfred Sellink

Pieter Bruegel the Elder may be seen as one of the few artists who for centuries have played a role in determining the perception and image of Flanders. Whether historically accurate or not, many people â€“ and certainly not only foreigners â€“ still associate the southern Low Countries with the stereotype of â€˜Boeren-bruegelâ€™, or â€˜Peasant Bruegelâ€™: the world seen as one great gluttonous feast, complete with food, drink and dance, in picturesque, slightly chaotic villages in the countryside. However interesting it may be to speculate about the extent to which the image and the self-image of â€˜theâ€™ Fleming flow into each other, in this article I would like to draw attention to a completely different aspect of Bruegelâ€™s work, one that is closer to the historical reality of his time, which can perhaps bring us closer to the figure of the artist, who is often difficult to get a handle on, and which at the same time can also provide us with the necessary information about the artistic and intellectual climate that he lived in. This article follows the artist on his journeys and excursions in Flanders and far beyond.

you may read all contents here