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Hamish Fulton – Slowalk at AV Festival, Newcastle

Friday, March 30, 2012

Hamish Fulton – Slowalk

Hamish Fulton will lead a Group Walk on a landmark post-industrial site near the River Tyne, Newcastle, on Saturday 31 March 2012, 13:00 – 15:00pm
This Group Walk is part of the AV Festival As Slow As Possible, 1-31 March 2012, Newcastle, UK
For participating see www.avfestival.co.uk

Peter Liversidge – Proposal for Low

Peter Liversidge – Proposal for Low, 2012
A4, folded, embossed stamp
in envelope, embossed stamp
edition of 500 copies

copies of the edition of this proposal will be given away to the audience of the concert of Low at the Royal Festival Hall on April 3rd 2012

Peter Liversidge – Post 30 March 2012

A Huge Mistake

Thursday, March 29, 2012

Here is your daily does of hilarity!

You're welcome, America!

Let's Talk About: Fanboys and Art

Wednesday, March 28, 2012

This post might not have anything to do with movies. I don't know. We'll see where my thought process takes me.

So, being confined to this speck of land in the Hudson Valley for the majority of the year does deny me certain privileges. A bevy of top tier restaurants to choose from (though there are a few winners here), at the mercy of whatever is playing in the local theater (it's usually pretty good), but the big one that a procrastination loving 20 year old feels the sting of above all others?

No XBOX 360.

It's been tough, man.

That's only partially a joke. True, I do long for my time at home so I can dive back into Skyrim or whatever is currently at the forefront of my mind, but it really isn't that big of a deal. If anything, my time away from the interactive entertainments has made me realize that they are kind of a waste of time.

My mother will be so thrilled when she reads that part.

However, there is one franchise that I will devote all my time to, one that will never be considered a waste of time in my book.

Mass Effect!

Earth comes first. Fanboys come second!

Oh boy, just the timbre of those two words gets me all hot and bothered, which brings me to the point of this article. Now, I don't know if you've been following gaming news or read IGN from time to time, or if you have no idea what the hell a mass effect is, so, just all inclusive, I'll bring you up to speed.

The third game in the Mass Effect franchise, the final installment of the epic trilogy, came out a couple of weeks ago to the usual acclaim that the franchise is used to. Mass Effect is an epic space exploration RPG where you take on the role of Commander Shepard as he/she fights to save civilization from an impending doom. What makes this franchise so damn excellent is the level of choice and customization at your disposal. No two people will have the same experience when they play Mass Effect. This is doubly impressive when you discover that your choices will carry over through all the games in the franchise, and change the events in those games. So, choices made in the first one will have consequences in the second and so on. It's really friggin' incredible. Couple that with gorgeous graphics, addictive combat, and superb voice work and... well, there's a reason Mass Effect has been heralded as the greatest game of all time by some.

So when the third one came out, everyone was all excited, and played through the whole thing on day one. And they found something odd. Now, I haven't played the game yet, as it's sitting at home in San Francisco and I'm still here in sunny Annandale, so I'm only going off what people have written/told me. The ending to Mass Effect 3 is being received as the biggest cockslap to the fan base since... really almost ever. Apparently your decisions have very little outcome on the ending, and the fans are pissed. Now, this make some sort of sense, as the makers of the game, Bioware, stated that your decisions would have big effects on the ending. Apparently, this turned out not to be the case. So, the fanboys did as fanboys do, and took to the internetz, petitioning to Bioware to change the ending, even going so far as to file a complaint with the FTC. And then, about a week ago, Bioware came out and said that they were working on downloadable content which would address these issues. Essentially, they said that they would make a new ending for those who pined for it.


Now, this development has me ticked off for two reasons.


Reason Number 1: I haven't payed the game yet, so all this bitching has effectively ruined the outcome of everything for me. Thanks tools!

Reason Number 2: Despite what they many think, fanboys aren't entitled to shit! Ok, maybe Bioware did advertise false information, but who doesn't these days? The advertising for The Hunger Games focused exclusively on the glitzy first half and the budding romance, and spent no time on the shocking levels of violence to found within, but nobody cared. It was just a product of a lame ad campaign. And Bioware should be called out on false advertising. That's just business. But to take to the streets demanding that they alter a product that they clearly spent a crap ton of time on, well... that's just going overboard mate. The people who worked on this game are artists. The writers of the game are artists. That game is their art, and they, without a doubt, are proud of it, proud of the time they put into it, and proud of the positive reception that it received, ending aside. It's a little insulting to them, not gonna lie.

I mean, sure. They did come out and say they would address the problem for y'all, but you have to assume that they're a little pissed. The Mass Effect series has always boasted exceptional quality, Mass Effect 3 included. These guys have spent that last five years creating from scratch one of the most celebrated and original franchises in any medium. For all we know, the ending is exactly what they had in mind from day one, and to spit on that and declare the entire game a failure because of the last ten minutes is just wrong. It's minimizing the work that the writers put in, and it's blatantly ignoring the other aspects of the game, which, from what I hear, are outstanding. Mass Effect is a long ass game, with 20-40 hours of gameplay to get through. A weak, final 10 minutes is not going to ruin the other two days worth of game.

More over, this development has forced Bioware to sacrifice their integrity as game designers and as artists. They have been forced to alter their work after an overly-entitled consumer base took issue with it. Just gonna go out on a limb here, but that sounds a bit like something that would happen in Nazi Germany or Soviet Russia, not so much 21st century America where the artist is a valued member of society.

Now, personally, I don't think the ending is all that bad. True I haven't played the it yet, so I don't know how it fits within the framework of the game, but in terms of the story as a whole, spanning Mass Effect 1, 2, and 3, I could see it working. Now, just because I don't have a problem with it doesn't mean other people are wrong to have a problem with it. Not at all. But the guys making this game are storytellers. Yes, the story they are telling is one that can change based on how you decide to play, but all good stories eventually come to an end. It would be, quite literally, impossible for the people making the game to create an ending for each and every person. And it's not like this is new to the franchise. Mass Effect 1's ending wasn't even really affected at all by the choices you made, and the ending to 2 hinged on a choice made in the final ten minutes.

We are going to need bigger guns!

Now, if I'm the artist, and I am an artist, (a storyteller, no less) and someone saw a play that I wrote, didn't like it, and came up to me demanding I change a certain element of it to better appease him/her, I'd punch em' in the face and walk away. If people want to offer me constructive criticism on how I can make my art to make it better, then fire away. I'm all for that. In fact, I encourage it. But demanding I make a change to something I toiled away on and am proud of simply because you did not like it, that I will not tolerate, and neither should a respected and successful company like Bioware.

So, fanboys, I ask you. With this new found power you suddenly find yourselves with, will you use it again? Will you take issue with the handling of another popular property because it didn't fully please you? For example; I guarantee you that the The Dark Knight Rises will not live up to your expectations. It is impossible to live up to those expectations. Will you take to the streets and demand that Christopher Nolan change the film to better suit your wants?

That's what I thought. You would never demand that a director change the ending to a movie, or a writer change the ending to a book. But games are a different matter. And they shouldn't be. Just because the advent of downloadable content has ushered in an era in which the game developers can keep adding new things to the game and update old things after its initial release, it is not an excuse for demanding drastic changes to a game's story.

I mean, do you know how angry I was at the end of JAK 3? All the expectations I had built up over the course of the franchise came crashing down as the big reveal of who the Precursors were was proven to be nothing more than an elaborate joke, and, on top of it all, Jak ended up with the wrong girl. I was FURIOUS!!!!! But, I got over it. It's a fucking game!

You know what I wish? I wish that all this talk of Bioware changing the ending is total bullshit. I wish that the DLC they put out asks you a question when you download it, inquiring whether or not you fought for a new ending. If you say yes, I hope it erases your saved characters and has you start over from the very beginning of the first game, only everything is set to the hardest difficulty. That would be fantastic!

That's all. Questions?

Trailer Trash: The Twilight Saga: Breaking Dawn: Part 2

Tuesday, March 27, 2012

It's time to root through some trailers. What sorts of wonderful things will be alluded to today?

Wait... this is a Twilight movie. Why am I here?

'attempts to leave'

'is pushed back on stage by a very large, gaggleing gang of twihards '


So, Bella's a vampire. Which, at the very least, gives reasoning to the fact that she still sounds like a lifeless, soulless automaton.

Also, what the hell kind of creepy ass line is "We're the same temperature now."? You need to brush up on your swag Edward, I'm telling ya.

Is that good? Can I go now? I'm exhausted too much energy on this film.

'gets approval'


'exits stage left'

Peter Liversidge & Low at Royal Festival Hall

Monday, March 26, 2012

Peter Liversidge & Low
Royal Festival Hall

Tuesday 3 April 2012, 9:00pm

Peter Liversidge was commissioned to design the three-screen video backdrop and stage set and lighting for the group Low for their performance at the Royal Festival Hall. This is the beginning of a year long collaboration culminating in a new set of Proposals written for the band Low

Roger Ackling – High Noon

Roger Ackling – High Noon

15 March – 28 April 2012

Annely Juda
23 Dering Street
London W1S 1AW

invitation card – Roger Ackling, Voewood 2011, sunlight on wood, rope, 12,5 x 2,5 x 2,5 cm (detail)
Roger Ackling – High Noon
publication, 32 pages, 22 x 27,5 cm
ISBN 1-904621-47-3
available at Annely Juda Fine Art

Richard Long – Galleria Lorcan O'Neill Roma

Richard Long
Text Works 1990 to 2012

23 March – 30 April 2012

Galleria Lorcan O'Neill Roma
1E Via Orti Alibert
Roma 00165

images © 2012, Richard Long, Galleria Lorcan O'Neill

This Ain't Your Grandma's Twilight

Saturday, March 24, 2012

Dude, I cannot even being to tell you how relieved I am right now. A little over a month ago, I wrote up a piece detailing my crippling fears that The Hunger Games would squander it's excellent source material in favor of appealing to the twihards. Perfectly legitimate concerns, mind you, as both Twilight and The Hunger Games are geared towards, more or less, the same audience. But where Twilight is boring, overly melodramatic, and soulless, The Hunger Games is tight, intense, and emotional, and it is with great pleasure that I can say that the movie adaptation of it is all those things and more! With unflinching loyalty to the source material, coupled with a practically perfect performance from the lead, The Hunger Games is the first big movie of 2012 that deserves your attention.

This is not a face you wave a flame in front of!

Decades after an catastrophic apocalyptic event tore through America, and a subsequent civil war decided who would rule and who would serve, the country of Panem has risen out of the ashes. Around the affluent and high-tech Capitol lie twelve, poverty stricken districts, inhabited by the descendants of the revolutionaries who rebelled against Capitol 74 years ago. In an effort to quell resistance where it usually starts, in the hearts of the young, the government mandates that, once a year, each district must offer up two tributes, one male, one female, between the ages of 12 and 18, to join with the other tributes in a fight to the death in a televised contest dubbed The Hunger Games.

Enter Katniss Everdeen, a strong willed, hard edged,capable young woman who harbors no love for the Capitol. When her younger sister's name is drawn for the games, she immediately finds herself rushing forward and volunteering to take her place. Along with her district's other tribute, a young man named Peeta Mellark (who may or may not be secretly in love with her), she is whisked away to the Capitol to prepare for the event. With the help of her prep team and her antagonistic attitude, Katniss makes an immediate impression on the viewing public. But when she enters the arena, everything changes, as she is forced to face and commit horrific acts of brutality in order to survive.

Ok, yes! I know! That sounds a lot like Running Man, and a lot like Battle Royale. Who was it who said that there are no original stories anymore? Who cares? I don't, not when this particular version of the story is this good. Though the set up and universe aren't the most unique, they way they are presented most definitely is. Entirely convincing in its portrayal, The Hunger Games is a harrowing, sometimes terrifying look at a bleak future, replete with violence, oppression, and despair. What makes the wheels turn on this story, however, is the character of Katniss. Put simply, she is the anti Bella Swan. Strong and independent, this is a hero that is deep, complex, and worthy of cheers! We see the story unfold through her eyes, and rather than bend to all the awful shit that happens (like a certain vampire lover is known to do), Katniss is the kind to face it down and (I can't believe I'm about to say this) take it like a man! Without her, The Hunger Games would give off no more than dull glow. With her, it shines like a supernova!

Sharp dressed men!

It, of course, doesn't hurt that the most talented young actress working today is playing Katniss, and let me tell you, if this is quality of work that Jennifer Lawrence puts forth in every single "event" movie she headlines, then I sincerely hope she ditches her indie roots and is cast in many, many more! Lawrence is incredible, imbuing Katniss with humanity, guts, and grace. Think of her character in this as Ree Dolly... if Ree Dolly were a badass killing machine when given a bow and arrow. There are stark similarities to both characters, not the least of which is the fact that Lawrence spends the majority of both movies trekking through heavily wooded forests. And believe me, she's just as good here as she was in Winter's Bone. Maybe better, I haven't decided.

Though the rest of the cast is completely overshadowed by the goddess that is Jennifer Lawrence (Do I have a crush? I think I do.), they all leave there mark and create memorable characters. Josh Hutcherson breaks away from his Journey mold and fashions a sympathetic and romantic leading male. I have to congratulate him with how well he plays off Lawrence in this, especially when you take into account how much The Hunger Games messes with how the sexes are portrayed in movies like this. Here, Katniss is the capable hunter, ensuring their survival, and Peeta is the soul that makes sure they don't lose their humanity. It's refreshing change of pace, and Hutcherson does well with it.

Elizabeth Banks is completely unrecognizable as the flamboyant, pink haired Effie, Katniss and Peeta's "manager", so to speak. She offers up most of what can be considered comic relief with some impeccable line delivery. Woody Harrelson is superb as the tribute's perpetually schwasted mentor. A role like that could have been played chiefly for laughs, but Harrelson inserts emotion into it, bringing forth demons from the character's tortured past that wouldn't have been seen otherwise. And Lenny Kravitz is pretty damn good in a small but pivotal role as Cinna, Katniss' stylist, whose inventive and lavish costumes help her gain the approval of the crowd in a big way.

Wes Bentley (remember him?) is effective as Seneca Crane, the lead "Gamemaker", who is getting a little disillusioned by the government rhetoric surrounding the games. Donald Sutherland is deliciously villainous in an expanded role as President Snow, the leader of the totalitarian Capitol. But it's Stanley Tucci who steals the show as Caesar Flickerman, the "Ryan Seacrest" of The Hunger Games. With an incredibly expressive face, he demands your eyes in the few scenes that he's in. He is also the announcer of the games, and provides a lot of helpful exposition.

Everyone is on their A game, but if they were all thrown into the arena, and their only weapons were their acting skills, Jennifer Lawrence would soundly destroy them all.

In my post expressing fears about this film, I made reference to the likelihood that the twisted levels of violence in the book would be toned way down in order to appeal to all the twihards that would flock to this thing. And while it is toned down to a certain extent to achieve a PG-13 rating, it really pushes it! There aren't torrents of blood or guts, but this is still probably one of, if not the most violent "kids" movies ever made! Once the game begins, the tension is kept at a fever pitch, and never lets up. The opening scene, that sees some kids bolting for the trees, other attempting to grab supplies, is a literal bloodbath that elicited more than a few gasps from the audience. And then there's the scene with the tracker jackers, which any fan of the book will tell you is downright sadistic, which is one of the most intense scenes I've seen in a whole hell of a long time.

Special mention must be made of Alexander Ludwig, playing a pitch perfect Cato, the main antagonist in the arena. In the book, he is a twisted, vile piece of work, taking pleasure in the killing like no one can, and mercifully, the filmmakers didn't mess with that at all. There's one scene that really hammers home how much of a monster he is. Katniss has dealt a blow to his group, destroying their supplies. Cato shouts at the kid who was supposed to be standing guard. When he isn't satisfied, he simply breaks the kid's neck. That they kept that scene in there, along with pretty much every other scene of murder, torture, and pain, makes me sooooooo happy.

I'm speechless on account of how ridiculous you look.

Helping the tension stay at such grand heights are some clever camera work and some sublime sound. The film is shot in shaky cam, a la Bourne, and while it isn't as cool as it is in those films, it's still effective. These are kids killing kids. It's not going to be graceful. And though the shaky cam does hinder our viewpoint at times, it's never a major issue. And then the sound in this movie. Holy shit, it is fantastic. When the games being, the score basically shuts off, and the ambient noises from the arena take center stage. It is consistently shocking when the low cannon signaling the death of another tribute booms in the distance. The gushing of blood, the snapping of bones, the screams of the dying; it's all handled so well, and is so intense!

Liberties are taken with the book, to be sure, but they are, for the most part, welcome and do lots to flesh out the world. The characters of Seneca and Snow were barely there in the book, and here they have much more to do, providing insight into how Capitol functions, and showing that even the most devout servant of the regime could start to have doubts. It's really fantastic. And then, in a different scene, it flashes back to another district right after the death of an important character and... well, all I'll tell you is that's it's really powerful! Even Cato's character is given more to do. At the end, he reveals a hidden depth and sadness that wasn't in the books at all. It added another layer to the whole thing, making it that much more harrowing.

Yes, there are some things to nitpick. There's a few flashes to a certain character that are supposed to be dramatic but are actually really hysterical, and the CGI can look a little shoddy at times, but it doesn't really matter. The Hunger Games, for what it is, is brilliant! Director Gary Ross should be commended for making a tween blockbuster that is character driven, emotionally grounded, that also happens to include shocking levels of tension and violence for a PG-13 movie. This is one aimed at the tweens that everyone else can readily enjoy. Oh, Jennifer. You are amazing. Don't ever change and may the odds be ever in your favor! 

Karin van Pinxteren – publication and edition

Friday, March 23, 2012

Karin van Pinxteren – Part of Someone's Diorama
a book published by Peter Foolen editions on the occasion of the exhibition Karin van Pinxteren – Part of Someone's Diorama at De Pont, Tilburg
texts by Hendrik Driessen, Hanneke de Man, Theo Ploeg, Karin van Pinxteren
31 images in full colour
22 x 26 cm, 48 pages
design by Peter Foolen
printed by Lecturis
ISBN 978-94-90673-07-9
edition of 500 copies
price € 15,00

a box is published including the book, signed and numbered, and a multiple:
one appears and disappears in the landscape of the other
silkscreen on lacquer on mdf
signed and numbered
22 x 26 x 1,2 cm
printed by John Dohmen Zeefdruk Producties, Tilburg
edition of 23 + 5 AP
price € 200,00

Karin van Pinxteren – Part of Someone's Diorama
24 March – 13 May 2012
opening Saturday 24 March 2012, 3-5pm
De Pont
museum of contemporary art
Wilhelminapark 1
NL – 5041 EA Tilburg

Midnight Movie: The Hunger Games

Thursday, March 22, 2012

Here I am!

Midnight with some friends!

The Hunger Games!

Dressed as Cinna!

Gold eyeliner and all!

No, I will not show a picture!

Review to come!


Ian Hamilton Finlay – Selections

Ian Hamilton Finlay – Selections

Edited and with an introduction by Alec Finlay
A book with selected writings of Ian Hamilton Finlay, published by University of California Press, Berkeley, CA, in March 2012.

available at Ingleby Gallery, Edinburgh
£ 16,95 (paperback, isbn 9780520270596), plus postage and packaging

Conflicting Emotions

In watching the new Battleship trailer, I can't help but feel as if I've just been offered insight into Peter Berg's mind. More specifically, one the things he may or may not like.


Peter Berg either really likes Led Zeppelin...

... or he really hates Led Zeppelin.

And, dear readers, at last the world was quiet!

The Tattoos Have Blinded You

Wednesday, March 21, 2012

I'm about to say something radical right now.

Brace yourselves!

Are you braced?

Seriously, you're gonna flip a shit over this.

Ok, here goes...

The climatic lightsaber duel in Star Wars: The Phantom Menace isn't that good. As a matter of fact, it's probably one of the worst in the whole series.

Still here? Good, let's get into it.

He wants to kill me now. 

First off, the conception of this particular duel is cool as balls. Two jedi vs. a sith lord wielding a double-bladed saber? Awesome! It doesn't hurt that said sith lord is one of the coolest damn villains in the Star Wars saga, maybe in all of sci-fi. Darth Maul just oozes menace, looks diabolically evil, and wields that saber like a god!

But, I'm sorry. This duel is terrible. Not quite as terrible as the pathetic excuse for a climax in Attack of the Clones, but nowhere near the franchises best. And I can chalk that up to two factors. Emotional investment, and sheer spectacle.

Let's get to the spectacle thing first, since it's probably a bit easier to talk about. The final duel in Revenge of the Sith, which sees Obi-Wan Kenobi and Anakin Skywalker furiously trying to kill each other as volcanoes explode all around them is excellent from a pure, action movie standpoint. The sword choreography is fast, fluid, and interesting, and the fight moves from environment to environment, and finds clever ways to utilize said environments to change up the dynamics of the fight. One minute they are in tight corridors, forced to hammer away at each other in close quarters. The next, they are standing on floating platforms over rivers of lava, trying to dismember each other whilst simultaneously focusing on maintaining their footing. It's a thrilling sequence that never lets up.

The duel in The Phantom Menace is not. That duel sees Obi-Wan and Qui-Gon Jinn face off against Darth Maul in the bowels of the queen's palace on Naboo. The environment only changes once, and when it does, it's just going from one wide open space to another. This would be fine, but the combatants don't use their force jump capabilities or whatever to any sort of advantage. It doesn't help that the sword choreography is just lifeless. I really don't see all the awesomeness you guys are talking about here. These are two Jedi in their prime, and they are fighting a guy who is played by RAY PARK!!! They should be leaping left and right, bouncing off walls and laying into each other. But no. Instead, there's just an awful lot of standing around. At one point, Maul deliberately runs to the edge of catwalk, and then turns to face his opponents. He wasn't forced into that position, he just casually sauntered there. And then, rather than press the advantage, Obi-Wan and Qui-Gon just stare him down.

And I counted at least five more moments like that, where an opening to dispatch someone was, not just taken not advantage of, but downright ignored. Remember when Qui-Gon sends Maul sailing off the catwalk to land on the other catwalk fifty feet down. Remember when he jumps down after him? Does he bring his lightsaber down on the red tattooed demon as he lands? No, he just lands right next to him. Well, does he then stab the sith lord with his lightsaber? No, he waits for a second, and lets Maul kick him away.

W! T! F!

After Qui-Gon gets stabbed, things take a turn for the better. Obi-Wan is pissed, and lays into Maul with a delicious fury. Maul gives as good as he gets, leaping around and savagely beating at the young jedi. It's really cool, and what I wanted from the whole duel. But there's another element that was just added into the mix that makes this last part so good. Which brings me to...

Emotional investment. Back to Revenge of the Sith. Yes, that lightsaber duel is flashy and Ewan McGregor and Hayden Christensen's stunt doubles do great jobs handling the swords. But there's a heart to this duel. Anakin has turned his back on everything he claimed to love and honor, and Obi-Wan has no choice but to confront his friend. You can feel Anakin's anger as he leaps around, and Obi-Wan's sadness as he delivers the final blow.

There is none of that in The Phantom Menace's duel until the very end. Until then, the heroes hadn't suffered any losses of any kind, and Darth Maul hadn't really been much of a presence. So when he finally shows up, it's just hollow. It's just a soulless dance, and it's not even a well choreographed dance.

Attack of the Clones boasts the absolute worst lightsaber duel of the whole series. A supreme lack of flair, coupled with no emotional investment whatsoever makes for one dull bout of fencing. The Empire Strikes Back has the absolute best of the series, one that beautiful combines well choreographed sword play with oodles of depth for the characters to plumb. There's already emotional investment in Luke's motivations for facing Vader. He knows he isn't a match for the sith lord, but the lives of his friends are too important. And then, beaten and bloodied, Luke has that huge atom bomb of a reveal dropped on him, and the whole thing takes on entirely new meanings.

The duel in The Phantom Menace doesn't even scratch the surface of the glories that Empire realizes. My opinion on this matter is just one of many I have that differ from the masses when it comes to Phantom Menace. I don't think that it's the worst Star Wars movie; I don't even think it's that bad of a movie in general. Sure it's poorly written and forcibly acted, but it introduced a lot of interesting ideas and themes that were tantamount in expanding the universe. And it also had the podrace, which is one of the best sequences in any Star Wars movie.

Ok, I'm getting away from the point, so maybe it's time to just wrap this up. I'm anxious to hear your rebottles on this matter, because I have no doubt that it will be an interesting conversation. Comment away nerds! Peace!

La Maison Rouge – Néon

Monday, March 19, 2012

Néon, Who's afraid of red, yellow and blue?

17 February – 20 May 2012

La Maison Rouge
10, Boulevard de la Bastille
75012 Paris

exhibition curated by David Rosenberg, with more than 100 works, executed in neon by a.o. Bruce Nauman, Ian Hamilton Finlay, Cerith Wyn Evans, Tracy Emin, Douglas Gordon, Dan Flavin, Maurizio Nannucci, Fiona Banner, Jonathan Monk, Joseph Kosuth and Bethan Huws

image © Joseph Kosuth, La Maison Rouge, photograph by Marc Domage
Joseph Kosuth – Neon, 1965

Alec Finlay – 5 poem-objects at Ingleby Gallery

Alec Finlay – 5 poem-objects

17 March – 21 April 2012

Ingleby Gallery
15 Calton Road
Edinburgh EH8 8DL

until 21 April 2012 is at Ingleby Gallery, Gallery I, the exhibition Roger Ackling

images © 2012, Alec Finlay, Ingleby Gallery
Alec Finlay – 5 poem-objects, 2012, (details), hand embroided linen handkerchiefs, with Jean Malone, 48x 48 cm

Artists' Postcards – Jeremy Cooper

The Artists' Postcard Show

6 April – 17 June 2012

Spike Island
133 Cumberland Road
Bristol BS1 6UX
England, UK

The Artists' Postcard Show is a selective survey of the postcard as a distinctive artistic medium from the mid-twentieth century to present day, from the collection of writer and novelist Jeremy Cooper, author of the recent published Artists' Postcards: A Compendium (Reaktion Books, London) and the forthcoming Growing Up: The Young British Artists at 50 (April 2012, Prestel Books).

The exhibition presents postcards of more than 200 artists, a.o.
On Kawara, Ian Hamilton Finlay, Gilbert & George, Richard Hamilton, Sara MacKillop, Jan Dibbets, Bas Jan Ader, Tacita Dean, Hamish Fulton, Lawrence Weiner, Carl Andre, Richard Long, Fiona Banner, Robert Barry, John Bevis, John Cage, Les Coleman, Simon Cutts, Alec Finlay, Ryan Gander, Douglas Gordon, Jenny Holzer, Sol LeWitt, Peter Liversidge, Erica Van Horn

The publication Jeremy Cooper – Artists' Postcards: A Compendium will be launched at Postcard Teas, 9 Dering Street, London on Thursday 26 April 2012 from 6.30-8pm

Jeremy Cooper – Artists' Postcards: A Compendium is available at Reaktion Books
437 images, 344 pages, ISBN 978-1-86189-852-4

Abstract Critical Newcomer Awards 2012

Friday, March 16, 2012

Abstract Critical Newcomer Awards 2012

30 March – 20 April 2012

Kings Place Gallery
Kings Place
90 York Way
London N1 9AG

Five artists from the 2011 degree shows from the UK have been selected by artists Phillip Allen, Carol Robertson, Iain Robertson, Alan Shipway and Gary Wragg to exhibit alongside them as part of the Abstract Critical Newcomer Awards 2012.
The selected graduate artists are Zara Idelson, Katy Kirbach, Dan Roach, Jack Sutherland and Gwennan Thomas

image inviation card, Dan Roach – Inscape, 2011 (detail), wax on paper, 13 x 17 cm

Roger Ackling – Annely Juda, London

Roger Ackling – High Noon

15 March – 28 April 2012

Annely Juda
23 Dering Street
London W1S 1AW

images © 2012, Roger Ackling, Annely Juda
Roger Ackling – Voewood, 2011, sunlight on wood with elastic bands, 14 parts, overall size 15 x 32 x 1,5 cm
Roger Ackling – Voewood, sunlight on wood, 2011, 22 x 3,5 cm
Roger Ackling – Voewood, sunlight on wood, string, 2011, 56 x 3,5 x 3,5 cm

Hamish Fulton – Galerie van der Mieden, Antwerp II

Hamish Fulton

16 March – 5 May 2012

Galerie van der Mieden
Pourbusstraat 15
2000 Antwerp

photographs PF 15 March 2012

Spirits of Internationalism

Spirits of Internationalism
6 European Collections 1956-1986

22 January – 29 April 2012
Van Abbemuseum
Bilderdijklaan 10
NL – Eindhoven

20 January – 6 may 2012

Leuvenstraat 32
B – 2000 Antwerp

photographs PF 15 March 2012, M HKA, Antwerp
André Cadere – A 12003000=25=3x10= noir blanc rouge
Donald Judd, Carl Andre, Frank Stella
Robert Morris, Lawrence Weiner


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