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JAVIER PERES STILL SUCKS
Thursday, November 20, 2008
“Money is money and we all need it. My interest is the history of art. So the fact that something sells for a lot of money, in and of itself, is not enough for me. The question is, is it historically salient? Is the artist historically salient? So I don’t know if Terence, if Dan, if Dash, if Agathe, Christina, Mark, whoever—if they sell for a lot of money or not, it’s not so much relevant. And for most of them, it isn’t, either. I mean, they need money to do what they’re doing. I need money to do what I’m doing—so we need to cover that base. And then the other base is simply, is it good enough to make art history, will people give a fuck about it? That’s what I try to keep as my focus.”
thanks ny observer
Corey Arcangel: Adult Contemporary @ Team Gallery
Thursday, November 20, 2008
“Team is pleased to present an exhibition of new film, video, photography and prints by Cory Arcangel. Entitled Adult Contemporary, the exhibition will run from the 14th of November through the 20th of December 2008. Team Gallery is located at 83 Grand Street, between Wooster and Greene, on the ground floor.
Adult Contemporary seems a particularly appropriate title for this latest exhibition of new work by the now 30 year-old darling of new media art, for Arcangel can be seen here as either having a) finally grown up, or b) having fully sold-out. In actuality, however, both and neither are true as Arcangel continues to explore the possibilities that exist at the intersection of theory, humor, and technological breakdown. Adult Contemporary is made up of six autonomous works — a projection from a VHS tape; a 16mm film; a large fabricated c-print; a self-playing videogame; two computers corresponding; and a suite of monoprints.
The term “adult” also suggests deeper levels within the work, taking the form of both formal rigor and emotional engagement. Certainly the aggressive and multivalent use of color throughout the exhibition shows Arcangel flexing his muscles and expanding his boundaries in the use of differing media. Far beyond the gee-whiz inventiveness of his earlier work, and its always light-hearted referencing of post-60s conceptual art and performance, these new pieces seem to clearly foreground the possibilities of an expanded poetics for Arcangel. The manner in which this show courts the melancholic and explores a thematic of failure increases its readerly potential pointing to the likelihood that, as he develops, Arcangel’s self-introspection and artistic grasp continues to grow.
Contemporary artists are faced with an ever-widening palette of tools to use for creative work. Each of these various mediums requires a growing base of expertise to combat its eccentricities and pitfalls. In this sense, a growing sector of artists is always faced with failure — not only in terms of their “message” but also in terms of their choice of material and their manipulations thereof. Arcangel lives in this world, a place whose citizens are always running from obsolescence.
Arcangel states: “Imagine me buying some video equipment off of eBay, turning it on, pressing some random buttons, and then calling whatever comes out my ‘work.’ This mind-set is the spirit of Adult Contemporary. In contrast to some of my older work, which exercised a somewhat subversive use of modern digital tools, the pieces in this show are inspired by the idea of using technology exactly as it was designed, although in a manner best described as ‘non-expert.’ What if the possibility of using a system poorly in an uneducated manner were celebrated? What if I, as an artist, attached my name to the aesthetics of different eras of technology without really bothering to do my homework or even reading the manual (so to speak)?”
This is Arcangel’s third solo at Team. In New York his work has also been shown at The Museum of Modern Art, The Whitney Museum of American Art, P.S.1, The Solomon R. Guggenheim Museum and at the New Museum. At the age of 26, he was the subject of a monographic exhibition at Zurich’s Migros Museum and, over the past five years, his works have been included in major museum group shows the world over. Arcangel has also had solo gallery shows in Paris, Salzburg, Geneva, Brussels, Stockholm, and London. ”
Lutz Bacher: ODO at Ratio 3
Sunday, November 9, 2008


ODO Installation View

ODO Installation View

ODO Installation View

ODO Installation View

ODO Installation View

ODO Installation View

ODO Installation View

ODO Installation View
Thanks to Maxwell for the tip.
“Butterscotch Pudding too
4 tbsp butter
1 cup dark brown sugar
1 1/2 tsp kosher salt
1 cup cream
2 cups milk
2 tbsp scotch, brandy, or whisky
1 tsp vanilla
2 eggs
3 tbsp corn starch
1. In a large saucepan, melt the butter over the lowest heat. Do not let the butter sizzle and separate. If this happens, discard it and get new butter.
2. Add the brown sugar and salt, and stir into the butter. Turn the heat up to medium and cook the sugar until it begins to bubble, 3 to 5 minutes, stirring occasionally to avoid scorching. When the bubbling begins, stir and let it bubble for about 30 seconds.
3. Add the cream in small additions, stirring between each. When all the cream is incorporated, add the milk, scotch, and vanilla all at once. Stir to combine and set aside.
4. Whisk the eggs and cornstarch until even. I find that the cornstarch will be lumpy at first, but if you whisk it a first time while the brown sugar is caramelizing, then come back and re-whisk it after the milk is incorporated, the liquid in the eggs will soften the lumps and they distribute evenly.
5. Whisk 1 cup of the warm butterscotch cream into the starchy eggs until evenly combined. Return this to the sauce pan of butterscotch cream, whisking to combine.
6. Begin cooking the pudding over medium to medium high heat, stirring all the while with a whisk. The mixture will begin to thicken after 3 to 5 minutes. Continue whisking constantly, watching for the first signs of bubbling. When the mixture just begins to bubble, reduce the heat to low and set a timer for 2 minutes. (if you are using an electric range, have a second burner preheated to a low setting) Stir the pudding over the low heat for 2 minutes.
7. Remove from heat, and immediately pour into a bowl to stop the hot pan from further cooking the pudding. Place plastic wrap directly on the surface to avoid a skin forming and let cool at room temp for an hour, then place in the fridge. Alternately, divide the hot pudding up between individual cups and let a skin form. I have to admit, I like a little skin, as it is a defining characteristic of home cooked pudding to me!”
-Ratio 3 Press Release
Lily van der Stokker
Wednesday, November 5, 2008

‘Rob Pruitt’ 2000
wallpainting, object
Lily’s comment: Rob Pruit is an American artist who lives in New York and shows his work at Gavin Brown Enterprises

‘Sculptuur voor park’, 1997
240 x 85 x 95 cm
acrylic paint on epoxyhars, varnish

‘Olga is een krengetje’ 2005
acrylic paint on wooden box and wall

Silvie and John, 2003
Acrylic paint on wall with boxes
158 x 166 x 31 cm

I drink tea, 2003
Acrylic paint on wall with boxes
73 x 117 x 33 cm

Poepie en Floepie, 1997




Uncle Jan, aunt Annie
exhibition view Bonnefantenmuseum, Maastricht, 2004
Hans-Jörg Mayer at Christian Nagel
Tuesday, November 4, 2008
“Mistral”, 2008
Öl auf Leinen
200 x 250 cm
“Wechselwesen”, 2008
Öl auf leinen
156 x 210 cm
Ohne Titel, 2008
Neonröhren und Fassungen
243 x 266 cm
“Django”, 2008
Öl auf Leinen
100 x 70 cm
“Roter Funke”, 2008
Öl auf Leinen
80 x 60 cm
“You’re welcome”, 2008
Öl auf Leinen
100 x 70 cm
Stephan Dillemuth Nils Norman: You have been misinformed at Reena Spaulings
Monday, November 3, 2008






“Reena Spaulings Fine Art is pleased to present You Have Been Misinformed, an
exhibition by Munich-based artist Stephan Dillemuth and London-based artist
Nils Norman.
Reinterpreting some of the formal elements of an obsolete modernist plaza in NYC’s
financial district – 77 Water Street – the artists invoke some of the more glamorous days
of Manhattan, when arts and financial markets started with a certain optimism to weave
the global fabric. Plopped into the “Plaza” is an installation of video fragments that
recreate articles and quotes from the Financial Times and the International Herald
Tribune as performance pieces reporting on art finance, the credit crunch and the new
class of mega-rich art patrons.
As public spaces have become privatized, the arts have entered a new phase, becoming
merely another alternative asset of dubious financial schemes and speculations. The
installation and videos reflect upon these developments and the connections between the
declarations of Sotheby’s chief executive Bill Ruprecht, the machinations of Ukrainian
industrial entrepreneur Victor Pinchuk and the mad apocalyptic ravings of CNBC
financial pundit Jim Cramer.
Plaster trees, a plywood seating area, hanging Plexiglas-fronted canvases and a vaguely
Prairie School-derived pedestrian bridge are some of the basic structures with which the
artists stage the arrival of an especially jittery new art season. This is a credit crunch, pre
art crunch extravaganza – don’t miss it!
Previous Dillemuth and Norman collaborations include The Bohemia Research Garret,
Baltimore Museum of Art, 2005, Friesenwall 120 Ruined, in the group show Make Your
Own Life: Art In and Out of Cologne (curated by Bennett Simpson) at ICA Philadelphia
and other venues, 2006, and A Mysterious Thing, Vilma Gold, London, 2007.
………………………..also check out the self-published booklet by Patterson Beckwith. ”
-Press Release








