sexta-feira, 16 de junho de 2017

<p>burial at sea, 1972</p><p>artist book [photographs on paper, binding]</p><p>12 x 18, 5 cm</p>

Paulo Bruscky
I started running classified ads that were basically project proposals…because whenever you’re working on something conceptual, you’re already doing it from the very moment you have the idea. –  Paulo Bruscky
Galeria Nara Roesler is pleased to present an exhibition of works by Paulo Bruscky (Recife, PE, Br, 1949), the artist’s first at our New York gallery. The exhibition showcases the artist’s classified advertisements, as well documentation of historical performances, illustrating the artist’s seminal body of work spanning over 5 decades, many never finalized due  censurship imposed by the military dictatorship in Brazil during the first years of his artist’s career. The exhibition also contextualizes the artist’s work that will be presented concurrently with the exhibition at: the 57th Venice Biennale, where Art Is Packaged Any Way We Like, 1973 / 2017, which will be performed as part of “Viva Arte Viva,” curated by Christine Macel on May 11th to November 26; and the Americas Society in New York, when the artist will give a workshop based on his historic performance Xeroperformance, 1980, on May 24th.

Bruscky’s visionary understanding of a communication society and multilayered conceptual approach account for the enduring relevance of his work, which is why we will also showcase the artist’s Tribute to George Orwell: 1984/2014, 2014, and Connection, 2013, as part of our selection for Frieze New York, 2017.

A multimedia artist and poet, Bruscky was a pioneer in “communication art,” a term coined by the artist himself. Like many artists of his generation, Bruscky believes that art should incorporate its surroundings and endeavor to defragment every-day life. An active proponent of the international mail art movement and a member of Fluxus, the artist performed unorthodox experiments with systems of communication such as artist books, classified ads, telegrams, telefaxes, faxes, the internet and the Xerox. Driving Buscky’s practice is a poetics of experimentation, anchored on the potentiality of media, a rejection of formalism, and a refusal to stagnate in the pursuit of recognition.

As Bruscky states, “I study equipment to see how I can subvert it, pluck it from what it’s meant to do, I mean, make it our ally, right?” The artist’s early experiments with the Xerox machine manipulated light to create distortions and superimpositions, effects which only a Xerox machine was able to create. The subjectivity created by the process, eventually led the artist to list the copy maker as a co-author in his catalogues. In fact, Bruscky’s playful engagement with the subjectivity of his authorship becomes evident when he confronts his xerographic alter-ego, exploring a “photolanguage” to document the encounter (Me with Myself, 1977).  From these early investigations emerged hisXeroperformances, 1980, in which the artist’s physicality becomes a component in his artwork as he began to record his bodily gestures on the glass plate of a copier.

Central to Bruscky’s investigations with imaging and reproduction techniques, is a desire to transform the status quo and create the impossible. In the 1970s Bruscky began posting announcements on newspapers, or “declassified art,” that interrupted the mundanity of the paper by offering extraordinary proposals to the reader. The announcements searched for technicians capable of recording dreams (Project of a Machine of Filming Dreams, 1977), records that would disappear as the record player needle went over it (Anthropophagic Record, 1984), and meteorologists capable of coloring clouds (Air Art, 1974/1982). “Using black humor, parody, and the situationist’s notion of detournément, Bruscky’s work operates as propositions to disrupt and transform social order as much in one’s mind as on city streets,” states curator Clara M Kim.
In his classifieds as well as in his performances, underlying the humor and genuine desire to create a poetic expression, is a political intent to undermine the oppressive regime that arrested and artistically paralyzed the artist throughout the 1960s and 70s. The artist’s Cemetery Artexhibition in 1971 was meant to memorialize the death of artistic autonomy under State censorship while tacitly reflecting on the deaths of political activists. However, when the exhibition was prevented by the authorities, the artist organized a funeral procession for his exhibition which took place in the streets of his hometown, Recife, until it was inevitably repressed. Bruscky retained this piercingly macabre sense of humor when he placed coffins bearing phrases into the river so that these would wash back to shore (Burial at Sea, 1972.) In the artist’s words, “I’d seal the whole coffin and stick some ironic phrase on it, something about the history of art or Brazilian military government. They eventually put two and two together and found that this was my work. It caused a commotion … and I kept a photo record of the whole thing”
Beyond his political criticism, Bruscky simultaneously engages in a questioning of the parameters for art making and exhibiting, entering in frequent dialog with contemporaries who also engage in institutional criticism. For the 30o Salão Paranaense de Arte in 1973, the artist sent a telegram (Telex, 1973) relaying three proposals that constituted a performance/installation that reflected on the act of preparing an exhibition. The conceptual historicity of the salon made it a particularly suitable occasion to question the canonizing institution of art. Although accepted by the salon, the piece was never performed. That is, until this May when the artist will perform Art Is Packaged Anyway We Like It, 1973/ 2017, a performance based on the first proposal that will be taking place at the Venice Biennale’s exhibition “Viva Arte Viva”curated by Christine Macel.   
As opposed to a show, the "Samba Party" is more of a communal gathering, where Brazilian music enthusiasts share their love of samba drumming, dance, and culture — a kind of NYC take on the mega samba school rehearsals that precede Carnaval in Rio de Janeiro. This Summertime edition of the event will feature an official dance contest to select the 2017 “King of the Drums” — O Rei da Bateria — who will march in front of Samba New York's Drum Section at this year's Village Halloween Parade on October 31st and in next year’s Dance Parade in May. If you are male, at least 21 years old, and love to dance samba, we invite you to register for the contest by sending your full name, contact phone number, and a short video of you dancing samba tomanager@sambanewyork.com. Space in the contest is limited. Both amateur and professional dancers are welcome. The event will also include a samba lesson with Brazilian dance master Danielle Lima and a set of live batucada by the Samba New York! drummers, under the leadership of Dr. Samba.


Exhibition Overview



Lygia Pape: A Multitude of Forms is the first monographic exhibition in the United States devoted to Brazilian artist Lygia Pape (1927–2004). A critical figure in the development of Brazilian modern art, Pape combined geometric abstraction with notions of body, time, and space in unique ways that radically transformed the nature of the art object in the late 1950s and early 1960s. Covering a prolific, unclassifiable career that spanned five decades, this exhibition examines Pape's extraordinarily rich oeuvre as manifest across varied media—from sculpture, prints, and painting to installation, photography, performance, and film.

The exhibition is made possible by The Daniel and Estrellita Brodsky Foundation and The Garcia Family Foundation.
It is organized by The Metropolitan Museum of Art in collaboration with Projeto Lygia Pape.
On view at The Met Breuer in Floor 4

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GILLES TEBOUL
booth D08


June 12-17, 2017 at MARKTHALLE in BASEL


galerie bruno massa is pleased to announce its first participation in the 13th edition ofVOLTA. Sattelite Basel's art fair for new international positions, debuted in 2005 as a collaboration between dealers and friends. The aim was to secure a platform for international galleries beyond young art stalwart Liste and market heavyweight ART BASEL.

Concerns and aspirations of the exhibiting gallerists have been first and foremost since VOLTA's inception; in combination with the curatorial mind of Artistic Director Amanda Coulson, eclectic and dynamic presentations with a strong focus on solo presentations find a stage as refined as at the main fair. 


This year the gallery spotlights Gilles Teboul in a solo project for VOLTA13. The French artist furthers his gestureless experimentation of color on canvas by asserting a classic “acheiropoïetic” approach, i.e. poured on and “not made by the hand of man, miraculously.” Thus, in spite of their almost instantaneous conception, the works achieve a sublime depth and almost indescribable tonality.


/ VOLTA13 INFORMATION /

General Admission
Tuesday, June 13 to Saturday, June 17 | 10 am - 7 pm
Closed on Sunday, June 18

Location
Markthalle, Viaduktstraße 10
CH-4051 Basel, Switzerland


/ CONTACT /

galerie bruno massa
102, rue des Poissonniers
75018 Paris, France


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ARTPRICE | ARTRON

ARTSPER | SAATCHI ART

ARTBCO | ARTSY




10 opportunities for artists in galleries in Amsterdam, Beijing and Torino. Deadline: 16 June 2017.

T.I.N.A. is an international platform and an open call that allows artists to get in touch with a network of galleries and curators interested in evaluating new projects.
T.I.N.A. is addressed to all artists, regardless of age, nationality and medium. Artists working at all levels are encouraged to apply by creating an online profile where they may upload a mini-portfolio. At the end of the call, each gallery in the jury will select one artist to commence a true collaboration beginning with a solo or group show.
Are you interested in working internationally? The current call includes: 3 galleries in Amsterdam; 4 galleries in Beijing; and 3 galleries in Turin.



Sign up by 16 June 2017
www.tinaprize.com


Up-to-date information on the latest financial news. View online.
Economic Observer

Disappointing Data and Fed Rate Hike

Downside misses in major reports on inflation and retail sales were favorable for mortgage rates this week. The Fed meeting was viewed as slightly negative. The net effect was a small decline in mortgage rates, which ended at the best levels of the year.

As widely expected, the Federal Reserve raised the federal funds rate on Wednesday afternoon by 25 basis points, bumping it to a range of 1.0% to 1.25%. Investors mostly reacted to new information in the Fed's statement about the plan to reduce the $4.5 trillion of mortgage-backed securities (MBS) and Treasuries on its balance sheet. If the economy performs in line with the Fed's forecast, the plan calls for a gradual reduction in the holdings by no longer reinvesting all of the principal payments received. The reductions are expected to begin this year. The amount that will not be reinvested will begin at $10 billion per month (split between Treasuries and MBS roughly in proportion to the Fed's holdings) and will increase every three months until the total monthly amount not reinvested reaches $50 billion. These figures may have been larger than anticipated by investors, and mortgage rates moved a little higher after the statement was released.

Two major economic reports released on Wednesday morning fell short of expectations, causing mortgage rates to improve. In May, the core Consumer Price Index (CPI), which excludes the volatile food and energy components, was 1.7% higher than a year ago, down from the 1.9% year-over-year rate of increase in April. After holding steady during the second half of 2016, core CPI inflation peaked in January at 2.3% and has declined every month since then. According to the statement, most Fed officials expect that inflation will remain below their 2.0% target in the near term but will stabilize near their target in the medium term.

Excluding the volatile auto component, retail sales in May fell 0.3% from April, which was well below the consensus for an increase of 0.2%. Retail sales are volatile month to month, however, and they still were 4.0% stronger during the first five months of 2017 than they were over the same time period last year.


Week Ahead

Looking ahead, the housing starts data will be released on Friday. The Existing Home Sales report will come out on June 21, followed by New Home Sales on June 23. In addition, Industrial Production, an important indicator of economic growth, will be released on Thursday. 



Chart



Making Space shines a spotlight on the stunning achievements of women artists between the end of World War II (1945) and the start of the Feminist movement (around 1968). In the postwar era, societal shifts made it possible for larger numbers of women to work professionally as artists, yet their work was often dismissed in the male dominated art world, and few support networks existed for them. Abstraction dominated artistic practice during these years, as many artists working in the aftermath of World War II sought an international language that might transcend national and regional narratives—and for women artists, additionally, those relating to gender.
Drawn entirely from the Museum’s collection, the exhibition features nearly 100 paintings, sculptures, photographs, drawings, prints, textiles, and ceramics by more than 50 artists. Within a trajectory that is at once loosely chronological and synchronous, it includes works that range from the boldly gestural canvases of Lee Krasner, Helen Frankenthaler, and Joan Mitchell; the radical geometries by Lygia Clark, Lygia Pape, and Gego; and the reductive abstractions of Agnes Martin, Anne Truitt, and Jo Baer; to the fiber weavings of Magdalena Abakanowicz, Sheila Hicks, and Lenore Tawney; and the process-oriented sculptures of Lee Bontecou, Louise Bourgeois, and Eva Hesse. The exhibition will also feature many little-known treasures such as collages by Anne Ryan, photographs by Gertrudes Altschul, and recent acquisitions on view for the first time at MoMA by Ruth Asawa, Carol Rama, and Alma Woodsey Thomas.
Organized by Starr Figura, Curator, Department of Drawings and Prints, and Sarah Hermanson Meister, Curator, Department of Photography, with Hillary Reder, Curatorial Assistant, Department of Drawings and Prints.