FRONT PAGE  I Arts events 2006 I Artists of the month History of Judaic Art I

ARTS 2006 By Maximillien de Lafayette
 
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10-Books

JEWISH WORLD

31-Arts

 

 

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Presidente: Carlo Pesta
Presidente Onorario: Aldo Masella
Vice Presidente: Agnese Omodei Salè
Primi ballerini : Noemi Briganti,
Leonardo Velletri

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ARTS 2006

Visit: Artists of the month (February 2006)

FLUXUS: TO GEORGE WITH LOVE FROM THE PERSONAL COLLECTION OF JONAS MEKAS

February 16 through March 31st, 2006. Reception March 11 from 6-9 pm


Maya Stendhal Gallery is currently presenting Fluxus: To George With Love, From the Personal Collection of Jonas Mekas.

Jonas Mekas, curator of the exhibition, is a veteran avant-garde filmmaker and writer, founder and artistic director of Anthology Film Archives. He was a longtime friend and collaborator of George Maciunas, founder and “chairman” of Fluxus. Maciunas coined the term Fluxus in 1961 from a Latin etymological root meaning “flow”, in order to describe a movement with origins in Futurist performance, Dada, silent film, comedy, Vaudeville, and gaming. Fluxus set out to question time-worn notions of authorship and value, and challenge ostensibly firm distinctions between artistic genres. Influenced by the work of John Cage and Marcel Duchamp, the Fluxus group shifted the emphasis from what an artist makes to the artist’s personality, actions and opinions. Key to Maciunas’ vision was the participation of artists who shared his interdisciplinary interests. Maciunas often anonymously funded, produced, and archived Fluxus projects, aiming to—and succeeding in—launching an underground, ongoing, international, and interdisciplinary anti-art movement. This exhibition of works from Jonas Mekas’ personal collection presents original artworks by Maciunas, as well as other artists, including Nam June Paik, George Brecht, John Hendricks and Ben Vautier Ay-O, Bob Watts and Yoko Ono. Wide-ranging in scope, the pieces displayed include examples of 1960’s graphic design and typography, architectural design concepts, and performance relics. Films and black & white Flux slides will be projected within the gallery.
Maya Stendhal Gallery. 545 W. 20th St. New York, NY 10011. (212) 366.1549

email: gallery@mayastendhalgallery.com

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Jewish museum in Austria exhibits anti-Semitic objects to provoke debate

Photo: Anti-Semitic salt and pepper shakers are displayed, Oct. 20, 2005, as part of an exhibit on anti-Semitic items at the Jewish Museum in Hohenems, western Austria.

HOHENEMS, Austria- The exhibit in the basement of the Jewish museum has the feel of a cozy antique shop or an old-fashioned apartment. But a closer look at the paintings, paperweights, pipes and other knickknacks reveals something chilling: They are all anti-Semitic, featuring large, crooked noses and other unflattering caricatures of Jews. Curator Hanno Loewy went for the comfortable, homey look with a purpose - to unsettle visitors and get them thinking. "These objects were part of a certain coziness. They were meant to be cozy," he said. "It takes three to five minutes, and then people realize it's not cozy at all. The disturbance they feel when they realize that themselves is much more effective than if we were to put up a sign saying, 'This is dangerous. "

Abonnement magazine artOn display are 580 objects from the collection of Gideon Finkelstein, a Jew who bought anti-Semitic items over 15 years. Though the objects dating from 1880 to 1920 are nothing more than "kitschy knickknacks," they were a way for their original owners to exert power over Jews, whom they perceived as threatening, Loewy said. "They are in a way transforming a fantasy of something dangerous into something you could control," he said. Among the most eye-catching displays is a fairground shooting stand depicting a Jew and a ferocious dog. By hitting the target, shooters set off a mechanism that sets the dog on the Jew, who uses an umbrella in an attempt to fend off the attack. In a separate room, visitors can listen to an interview in which Finkelstein says he considers it important to save these items because they show just how widespread anti-Semitism was long before Nazi leader Adolf Hitler rose to power. "In the 80 years before Hitler, people in Germany, in Austria, in France, lived with anti-Semitism in their everyday lives," Finkelstein says in the presentation. "When someone like Hitler came and brought anti-Semitism to a climax, everything was already prepared. And I think it's important to show that."

Click here to find out more!The exhibit, which runs through Feb. 26, is the first public display of the Finkelstein collection. In his interview for museum visitors, Finkelstein says modern anti-Semitism is expressed in other forms. "Today, there are books, there is the Internet, there are many other ways to disseminate propaganda like this," he warns. Such means are explored in another exhibit room, dubbed the Rumour Kitchen. Visitors open cupboards and drawers to find mini-exhibits illustrating modern anti-Semitism. One cupboard is devoted to Mel Gibson's film The Passion of the Christ, which some Jewish organizations objected to for fear it would cause bad blood between Christians and Jews. Another drawer, labelled "Remove the cover! What teachers don't like to hear," contains a copy of a note with anti-Semitic jokes recently passed around among girls in a nearby school. Scribbled in childish handwriting are statements such as: "When something doesn't suit us Nazis, a Jew will be gassed!" followed by a smiley face. A Jewish heritage museum might be expected to avoid this subject in fear of conveying a message that promotes rather than criticizes anti-Semitism. But to Loewy, anti-Semitism is a topic "Jewish museums can't avoid if you don't merely present a Judaica silver collection, and I don't want to do that." "It doesn't help to stick the head into the sand and pretend that this is not around," he said. In 1860, Hohenems, a town of 14,000 people near Austria's western border with Switzerland, had a vibrant Jewish community of 560.

Today, only Loewy and a handful of other Jews live here. The town has an unusual relationship to its Jewish roots because its Jewish community had largely dissolved before the Second World War. That means the Holocaust is not "the overshadowing one aspect of history that dominates everything else," said Loewy, who moved to the town from Germany in 2004. "Hohenems has a more positive connotation to the descendants than other German or Austrian or Polish places do," he said. "This is a factor that makes it easier to make interesting projects here." American descendants of Hohenems' Jews have formed a 150-member group that supports the museum. Uri Taenzer of Moorestown, N.J., secretary-treasurer of the American Friends of the Jewish Museum Hohenems, praised the exhibit, saying it combats anti-Semitism by "exposing and demonstrating some of this stupidity that gave rise to anti-Semitism." "If the exhibit reminds people of how ignorant anti-Semitism can be, then it helps," he said in a telephone interview. -By S. lauf.

PURELY JEWISH ARTS. USA     

Memory Imprints: A Sculptural Installation by Tova Beck Friedman

Inspired by ancient architecture and archaeological sites in the land of Israel, Tova Beck-Friedman sculpts the raw desert formations of her birthplace and incorporates the human figure into her work. Their towering dimensions impart strength and force but despite their size, they are lightweight - made of recycled pulped paper. Beck-Friedman was born in Tel Aviv, Israel, now lives in New York and has created many site-specific installations around the world. On view at Center of Jewish History, New York.

Mining the Collection: Recent Acquisitions

An exhibition of selected works acquired since Yeshiva University Museum relocated to Chelsea in 1999. Given the Museum’s interdisciplinary nature, its collections are eclectic and wide- ranging, spanning 2000 years of Jewish aesthetic achievement. An ossuary from the Roman Period (1st century BCE - 1st century CE); a bronze bust by Sir Jacob Epstein (1880-1959); a Miriam’s Cup by Tobi Kahn (Rkadh,1998); a souvenir photograph from the 13th Zionist Congress (1923); a Tallit bag from late 19th - early 20th century, Shanghai; and ---are some of the treasures harvested in recent years, either as gifts or purchases. Walking through this exhibition is like strolling the corridors of the Jewish historical experience. On view  at Center for Jewish History.

Traders on the Sea Routes: 12th Century Trade Between East & West

This interactive exhibit traces the routes of medieval  merchants. Maps and models of sailing vessels (an Arab dhow and a Venetian Galley) show the merchants’ method and means of travel from India and Venice to Cairo, while activity stations offer insite into the lives of traders living in the Middle Ages, a glimpse into Cairo Genizah, and a visit to Maimonides' study. On view at Center for Jewish History.

 

Saatchi Gallery evicted by judge

Saatchi Gallery at County Hall

Photo: The Gallery opened on London's South Bank in April 2003.

The owners of the building which houses Charles Saatchi's art collection have won a High Court battle to evict him. A judge upheld the claim by Japanese company Shirayama Shokusan that the London Saatchi Gallery had continually breached the term of its lease. The judge said Danovo, the firm which runs the gallery, had shown "deliberate disregard" of the owners' rights. The breaches included putting works in areas for which they had not paid rent and offering a two-for-one ticket deal. The judge ordered the gallery, which is considering taking the case to the Court of Appeal, to pay damages totalling £9,750 for using rooms and moving works of art into areas not included in its lease.

Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living

Photo: Damien Hirst's work has been exhibited at the Saatchi Gallery.

Ticket disputed. The collection includes works by modern artists Marc Quinn and Tracey Emin. Shirayama Shokusan took the action jointly with Cadogan Leisure Investments, which manages County Hall, the South Bank building which once housed the Greater London Council. The claimants said the gallery also erected advertising signs without permission outside the gallery. Cadogan said the ticket price deal breached the lease because the rent calculations were based on a set entrance fee. Judge Sir Donald Rattee upheld the claim that Danovo had forfeited the lease. He admitted his ruling would have an effect on visitors to the gallery and the 80 staff who worked there. Mr Saatchi did not attend court to give evidence about his allegations that his staff had been harassed by the landlord and owner. He is planning to move his main artworks to a new gallery in Chelsea. Jit Chauhan, managing director of landlord Cadogan, said the company was "delighted" with the case's outcome. "We have had a difficult time attempting to deal with Mr Saatchi and his staff and are relieved that the gallery will be leaving County Hall," he said. London Mayor Ken Livingstone condemned the court's decision, calling the move "a disgrace". "The gallery opened up many parts of County Hall that had remained restricted to the public for far too long and was an excellent addition to London's thriving South Bank," he said.

Russians unveil radiator monument

Radiator monumentEnergy workers in Russia have marked the onset of the country's severe winter - with a monument to the world's first radiator.

Photo: The design is based on the winning entry in a photo competition.

The sculpture, of a cat lying on a windowsill over a heater, was unveiled at a power station in the city of Samara, south-east of Moscow. Russians say the device was invented in St Petersburg 150 years ago. Wednesday's ceremony came at the start of Samara's cold season, when central heating goes on throughout the city. The sculpture was crafted by local artist Nikolay Kuklev, who used the cat to create an impression of cosiness and comfort. "It is a monument to warmth, a monument to something that brings warmth and comfort. What could be better than that, particularly in winter?" he told NTV television in January.

The local energy company held a competition for the best photo of a cat enjoying the warmth of a radiator, and the winner served as a prototype for the sculpture. It is commonly claimed that the Romans invented central heating, but the Samara company did some research which it said showed the radiator itself first appeared in 1855 in the then Russian capital, St Petersburg. Its inventor, an ethnic German of Italian origin named Franz San-Galli, named it the "hot box" and patented it in Germany and the US. Its Russian origins were later forgotten.
 

 

ART  INTERNATIONAL. EVENTS & VIEWPOINTS

Leading Light of Contemporary Art

Detail of a print by Gregory CrewdsonThe Millennium Galleries invite you to take a walk on the dark side as their latest exhibition explores the tension between utopian visions and the sinister undertones of modern life.

Detail of a print by Gregory Crewdson.

In a perfect world, we'd all be able to see the work of some of the leading lights of contemporary art, for free in South Yorkshire every day. As it is, the Millennium Galleries exhibition exploring utopian ideals and dystopian realities brings together some internationally renowned artists and new commissions from emerging artists to create some unsettling and intriguing landscapes. The troubling large format cinematic prints from Gregory Crewdson's Beneath The Roses series are an attention-grabbing highlight. The photographer stages each of his suburban scenes like film sets to produce richly detailed, but ultimately disturbing stills from some imaginary film in the visual language of David Lynch or even Hitchcock, to whom he is often compared. Crewdson's sense of filmic realism and the Lynchian overtones segue nicely into Pipilotti Rist's neighbouring dreamlike installation. 'Sip my Ocean'  invites the viewer to step into a dreamlike underwater world to experience the suffocating experience of falling in love to the evocative soundtrack of the artist singing 'Wicked Game' by Chris Isaak. Of the new commissions, Theo Kaccoufa and Katie Deith's work directly confront some of the darker fears of our age.

Theo Kaccoufa's Squid BearDetail of Michael Samuels 'Save What You Can'

 

 

 

 

 

From L to R: 1.Squid Bear - one of Theo Kaccoufa's GM Bears. 2.Detail of Michael Samuels 'Save What You Can'.

Deith's luridly coloured landscapes are redolent of fantasy holiday brochure pictures from a distance, but upon closer inspection reveal oil slicks in tropical waters or a rural scene ravaged by molten lava. Kaccoufa too is concerned with man's interference with the environment. "I'm inspired by the manipulation of nature," he says of his somewhat kitsch but slightly menacing GM Bears. "They're the toys of the future."  His Cyber Flora sculptures, the largest of which is a flower which towers over the visitor and weighs in at around 20 kilos of steel wire, have a strange elegance and modernity. Pared down, the structures from the natural world resemble robotic hands, metal insects and fantastical molecular models. Despite the dystopian billing of the show, not all of the art here aims to unsettle and disturb. Some images, like Mr & Mrs Ivan Morison's decaying versions of sumptuous 17th Century still-life paintings and Ged Quinn's topographical formal garden painting in the style of the same period, are more or less subtle subversions of canonical styles. But there is also a proportion of work from artists who clearly enjoy the process of making their own worlds. In Sarah Woodfine's pencil drawings of peaceful places - like log cabins and tee-pees encased in various boxes and a snow globe -  an almost childlike sense of joy in self-containment comes through.

Detail of 'Newfoundland', by Sarah WoodfineMr & Mrs Ivan Morison: Flowers with Fish (detail)

 

 

 

 

 

From L to R: 1. Pencil-drawn tent: Sarah Woodfine's 'Newfoundland'. 2. Flowers with Fish (detail), Mr & Mrs Ivan Morison.

It would have been good to see more of Paul Noble's equally intricate drawings of his imaginary city, Nobson Newtown - as it is difficult to grasp the nightmarishly spiralling scale of his meticulously detailed vision from two small images. On a par for meticulousness, sculptor Michael Samuels' seascapes combine a "filmic sense of narrative with a manageable domestic scale and a DIY aesthetic," according to the artist. Perhaps just as intriguing as the azure blue tabletop film sets, are his furniture sculptures in which a lamplit car park or set of roadworks may appear grafted onto a homely table, bringing the imagination involved in the creation of utopias into a very personal focus. By Onagh Jacquet.

 

 

 

 

 

 

LOVELY EVENT

The Korean Traditional Performing Arts Association

The KTPAA is a performance group that endeavors to preserve, cultivate, and disseminate Korean cultural arts in the United States. Its members consist of professional artists from the New York area Korean-American community who are dedicated to promoting intercultural understanding and appreciation of Korean artistic heritage and history. KTPAA’s annual concerts have always presented high quality performances of Korean traditional arts to the public, but this year’s event, the 10th annual concert in honor of the traditional Korean full moon festival ch'usok ("autumn night"), promises to be one that has yet to be surpassed. The Korean Traditional Performing Arts Association Presents Ch’usok (Autumn Night): The Korean Festival of Music & Dance, Peter Jay Sharp Theater at Symphony Space, 2537 Broadway at West 95th Street New York, NY 10025 The Korean Traditional Performing Arts Association.

Korean Fan Dance

 

 

 

 

 

 

 

Photo: Experience the shinmyong ecstasy of samulnori drums

The Korean Traditional Performing Arts Association will present its 10th annual concert in honor of the traditional Korean Full Moon Festival ch'usok, "autumn night." This night is also considered as Thanksgiving in Korea. KTPAA is eager to introduce the festival’s celebratory songs, dances, and evocative drumming, which range from music and dance tradition of ch'usok ,kangkang suwolae, to the farmer’s percussion band, poongmulnori. The communal gatherings and rituals of Korea's traditional agrarian society are reenacted in these artistic traditions. They will also present the Buddhist monk dance, sungmu; the instrumental trio based on rice-planting folksong, Sangju mosimkinorae; the hourglass drum dance, s’uhl changgo ch’um; and other folk songs to celebrate the plentiful harvest and to give thanks, poongnyongga. Their event will also include a lecture/demonstration in the afternoon for children and family, providing the background to the drumming and dance traditions of the ch’usok.

 

Location: The Korean Traditional Performing Arts Association, 750 8th Avenue, Suite 506, New York, NY 1003. More information on Korean events, CONTACT: halpertgroup@aol.com

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Connecting Points: Paintings by Lisie S. Orjuela"
 at Zeitgeist Gallery, Cambridge, MA, USA


Zeitgeist Gallery presents Connecting Points : paintings by Lisie S. Orjuela. October 24-November 7, with an opening reception on Saturday, October 29, 3-6 pm.  Lisie S. Orjuela visually taps into the inner world of the psyche, spirit, soul. Her paintings are reminiscent of woven textiles, with layers of thoughts intertwined with feelings and experiences. Her work is timely since it also explores rising up from difficult times. These experiences are often mournful, yet ever vibrant and on the move. Her intent is to grasp connections and find the relationships that exist therein, whether within ourselves, others and/or our surroundings. Orjuelas Connecting Points series features richly colored, textured figurative images. Each painting evokes a state of mind. Orjuelas main interest lies in the interior dimensions, the psychological spheres and environments. Hence the lack of recognizable placement for the human figures. Instead they dissolve and then emerge out of the surrounding ground, interacting with it, being a part of it. Patterns and textures have become an important part of Orjuela’s vocabulary in the last few years, adding to the richness and ambiguity of the pieces. The complexity of the figures inner worlds are hinted at by using an organic process of layering visual textures with rich earthy colors. Orjuelas process is slow and deliberate, as she mines for the interior dimensions that lie beneath each image. Her Connecting Points paintings are not only weighty in content, they are also hefty in size. With most of the pieces having dimensions of approximately 4ft. by 4ft., Orjuelas Connecting Points looms large visually and mentally. Originally from South America,  painter Lisie S. Orjuela has lived in various countries and throughout the United States. She currently resides and has her studio in Connecticut. Orjuela is a founding member of the vibrant Arts & Literature Laboratory Gallery in New Haven, CT. In addition to participating in numerous group exhibitions, Orjuela has had solo exhibitions in MA, CT, NJ, MO, IL, OK, and Mexico. Orjuela’s solo exhibit at the Zeitgeist Gallery will be running concurrently with another Connecting Points solo exhibit at the Edward Williams Gallery, Fairleigh Dickinson University, in Hackensack NJ.