Mister D, Urethane foam & artificial flowers, 2009

Man Cave
September 10, 2009 – October 24, 2009

Winkleman Gallery is very pleased to present Man Cave, our third solo exhibition by Vermont-based sculptor Andy Yoder. In a new body of large-scale and mid-sized sculptures, Yoder continues his exploration of the subtexts of our relationships with domestic objects and the symbols of suburban living.

Concerned specifically with the conflicts that arise from human domestication, via cultural expectations of conformity and assimilation, Man Cave takes as its central focus the rooms in American homes generally viewed as “masculine”—the basement, den, or garage—in which men typically arrange as they wish the tools, sporting equipment, and collected objects designed to tame the great outdoors or simply symbolize their more violent nature. The various states of disuse of such objects serves as constant reminders not only of unrealized potential, but their neglect often mocks the very spirit that draws men to them.

In Man Cave, through a poetic matching of object and material, Yoder plays with gender stereotypes by feminizing objects that are usually considered male, underscoring the types of universal conflicts that play themselves out inside the privacy of homes…male aggression vs. female submissiveness, machismo vs. domesticity. Surplus hubcaps are cast in lead crystal, with unique additional designs cut by a master craftsman from Ireland. Gilding a full-scale lawnmower transforms a sword that fights back the wilderness into an impractical trophy. A life preserver is fashioned from red coyote fur, glamorizing the keepsake even as it renders it unusable and a reminder that status and wealth are meaningless on a sinking ship.

The centerpiece of the exhibition, Mister D, is a nine-foot-tall bowling pin covered in thousands of bright pink silk roses. Looming over the viewers like a parent over a child, both masculine and feminine, attractive but faintly intimidating, Mister D epitomizes the built-in contradiction Yoder is highlighting throughout the exhibition. Like a bullet, its elegant, Brancusi-like form belies the violence of its function.

Andy Yoder has exhibited widely throughout the United States and Europe. In addition to two invitations to the American Academy of Arts and Letters annual exhibitions (2003 and 2007), he has exhibited at the Brooklyn Museum, the Reykjavik Art Museum, and will be included in the upcoming exhibition of new sculpture at the Saatchi Gallery in London titled “Shape of Things to Come.” His work has been reviewed in Art in America, The Village Voice, The New York Times, TimeOut New York and others.

For more information, please contact Edward Winkleman at 212.643.3152 or info@winkleman.com

http://www.winkleman.com/exhibition/view/1721

637 West 27th Street, Suite A
New York, NY 10001
Ground Floor
Between 11th and 12th Avenues

t: 212-643-3152
f: 212-643-2040

October 7, 2009 – November 10, 2009

Hall d’exposition du Centre des Humanités
INSA de Lyon – Camps LyonTech La Doua
20 avenue Albert Einstein 69621 Villeurbanne cedex
Contact : culture@insa-lyon.fr – 04 72 43 85 67

In partnership with the Biennial of contemporary art of Lyons

Lucie CHAUMONT
24 rue du Mail
69004 Lyon
09 50 41 24 38
06 70 51 13 89
luciechaumont@hotmail.com
www.luciechaumont.com

Healing Bands

November 26, 2009 – December 24, 2009
Reception on November 26, 2009 from 5 pm – 8 pm 

Galerie Eulenspiegal Gmbh
Gregor Muntwiler
Gerbergasslein 6
4001 Basel

T +41 61 263 70 80
F +41 61 263 70 81
Info@galerieeulenspiegal.ch
www.galerieeulenspiegel.ch

www.hanibalsrouji.com

Raatbouwtorens

the archeologists
Group Exhibition

Artists: Roy Arden / Boris Belay / Mariana Castillo Deball / Daniel Knorr / Susanne Kriemann / Sophie Nys / Zin Taylor / Els Vanden Meersch
Curator: Dieter Roelstraete, Museum van Hedendaagse Kunst, Antwerpen
Speech: Michael Hübl, Karlsruhe
“begeistert tiefschürfend”
Performance: Zin Taylor, Canada
“the flute of sub”

Opening: November 07, 2009 7:00 p.m.
Duration: 08.11. – 13.12.2009

In an age marked by youth and the future we are once again witnessing increased attention on artistic positions that focus on history and dealing with the past. We delve into archives, take the time to research, unearth, or retell stories – especially ones that have been neglected in the official versions of history. In an archeological manner the artists in this international group exhibition depart from a detail view, trying each in his or her own way to coax the “truth” out of material artifacts, or attempt to shed new light on things using thousands of fragments.

Ursula Blickle Stiftung
Mühlweg 18
D-76703 Kraichtal-Unteröwisheim
Phone: +49 (0) 7251-60 91 9
Fax: +49 (0) 7251-68 68 7
www.ursula-blickle-stiftung.de

www.elsvandenmeersch.be

November 13, 2009 – January 3, 2010
Reception on Friday, November 13th, 6:00 – 8:00 pm

Jane Kim/Thrust Projects
114 Bowery, #301
New York, NY 10013
Tel: 347 278 1500

Gallery Hours: Wednesday – Sunday 12:00 to 6:00 pm

Jane Kim/Thrust Projects is pleased to present “Strange Fruit in the
Streets,” an exhibition of new work by the Irish born, Paris-based
artist Malachi Farrell. This is the artist’s second exhibition at the
gallery and will run from November 13, 2009 to January 3, 2010.

Malachi Farrell deals with major political and social issues, past and
present, in a narrative mode. He combines craft and ingenious
technology to achieve a Gesamkunstwerk (synthesis of the arts) through
the use of sound, light, machines, everyday found materials and
articulated objects. He approaches his work through engagement,
resistance and attempts to expose violence against humanity. Farrells’
sculptures simultaneously arouse emotion and reflection, catalyzed by
humor and irony.

“Strange Fruit in the Streets” is a sculptural environment of four
clusters of worn shoes and sneakers tied together with cables,
suspended from the ceiling of the gallery like chandeliers. Each
grouping is comprised of 40-50 shoes, with approximately six outfitted
with electronic mechanisms, LED lights and mini sound systems that
open the toe of the shoes to play “She Loves You” by Peter Sellers
(original German version), a cover of the Beatles’ hit.

The title of the show refers to the poem written by Abel Meeropol, a
Jewish schoolteacher from the Bronx who wrote under the pen name Lewis
Allen. “Strange Fruit” describes the 1937 lynching of two black men in
Indiana, made into a song by Billy Holiday in 1939.

Shoes hanging from wires have become a popular motif, especially in
urban cities originating in the US and spreading from South America to
Europe. What initially is a gesture of rebellion and liberty for young
teenagers in gangs has become a mode of street art. The exhibition is
a journey through the streets of a poor neighborhood in New York, a
place at the margin of society, a metaphor for cities in crisis.

Born in 1970 in Dublin Ireland, Malachi Farrell resides in Paris,
France. His projects in 2009 include shows at Centre d’Art le LAIT,
Albi, France where “Strange Fruit in the Streets” was first shown, and
“Gaz Killers” at the Centre Culturel Irlandais, Paris. “Nothing Stops
a New Yorker,” exhibited at the gallery in 2005 as the inaugural show
for the space, will be included in “Dreamlands,” Centre Georges
Pompidou, Paris opening April 28, 2010.

info@thrustprojects.com
www.thrustprojects.com

John Bjerklie & Matt Blackwell
WORLDWIDETOUR
Curated by Jim Osman

October 31, 2009 – January 15, 2010

ART LOT
206 COLUMBUS STREET (CORNER OF COLUMBIA AND SACKET)
BROOKLYN, NY
HOURS: 24/7

The ART LOT is pleased to present WORLDWIDETOUR, an outdoor sculpture installation made in collaboration by John Bjerklie and Matt Blackwell. The installation, made in over a week, is a combination of pre-existing work, found materials and objects (including a few lumber yard items) created to form small compound where the artists will continue to work in throughout the show.

Bjerklie and Blackwell intend on exploring a series of activities and events in the space, transforming a typically static model of exhibiting into a continuous, ever-changing artifact of process. Upcoming events will be listed on the project website.

Sponsored in part by the Greater New York Arts Development Fund of the New York City Department of Cultural Affairs, administered by The Brooklyn Arts Council. Special thanks to Jim and Bobbi Vaughan for their contribution and support of the ART LOT.

worldwidetour09.blogspot.com

Bottari Truck - Migrateurs, single channel video performance, 10 min, silent, from the Performance in Paris, 2007

A Needle Woman, 2000-2001, video still from Cairo (Egypt), 8 channel video projection, 6:33 loop, silent

One of our most distinguished alumnae, Kimsooja, had multiple exhibitions during the month of October 2009.
www.kimsooja.com

Biennale of Lanzarote
International Museum of Contemporary Art
Canary Islands, Spain
Curated by Olivia Maria Rubio
Director: Maria José Alcántara Palop

October 13, 2009 – January 13, 2010
Kimsooja will present a new comissioned work “Earth-Water-Fire-Air” for the Biennale of Lanzarote.
www.centrosturisticos.com/centros/CENTROS/published_es/DEFAULT/index.html

A Needle Woman, Paris, 2009
Nuit Blanche, Facade of the Hôtel de Ville, Paris
October 3 at 6 PM- October 4 at 6 AM, 2009

Annual all night arts festival
Alexia Fabre, conservateur en chef du MAC/VAL
Frank Lamy, chargé des expositions temporaires du MAC/VAL
www.paris.fr/portail/Culture/Portal.lut?page_id=9287

Baltic Center for Contemporary Art

United Kingdom
Curated by Katherine Welsh

October 5, 2009 – January 17, 2010

BALTIC presents Korean artist Kimsooja’s first solo exhibition in the UK. The exhibition includes the major works A Needle Woman and A Laundry Woman-Yamuna River, India. A Needle Woman, composed of eight simultaneous videos, documents the artist as she stands motionless in the crowded streets of Lagos, Nigeria, Mexico City, Cairo, New York, Delhi, Tokyo, Shanghai, and London, putting the viewer at the centre of a global space. The world weaves past the artist’s needle-like figure, acting as an instrument, a medium that establishes connections, relationships and experience, expands time and seeks universal truths. A Laundry Woman-Yamuna River, India, considers nature, stillness and movement and the cycle of life and death as the river slides by, picking up flotsam and washing away the earth. The works in the exhibition question our notion of the self and contemplate a universality that hints at a possible truth of existence.
www.balticmill.com/

Dress Codes: ICP Triennial

The International Center for Photography
New York, NY
Curated by Christopher Phillips

October 2, 2009 – January 17, 2010
www.icp.org/site/c.dnJGKJNsFqG/b.5394877/k.97DE/Dress_Codes.htm

Against Exclusion: The 3rd Moscow Biennale

The Garage, Moscow
Curated by Jean-Hubert Martin

September 24th – October 24, 2009
www.3rd.moscowbiennale.ru/en/

Art:21—Art in the Twenty-First Century

Kimsooja is featured in the Season 5 (2009) episode Systems, premiering Wednesday, October 28, 2009 at 10:00 p.m. (ET) on PBS
Art21 Access ‘09, our international screening initiative that includes hundreds of public screenings events across the world. Art21 Access ‘09 is partnering with over 400 venues that will host over 567 screenings around the world, from Kalamazoo, Michigan to Addis Ababa, Ethiopia between September 28 and October 30, 2009. Events are free and open to the public. To attend a public screening please visit: access.art21.org/

Investigations of a Dog

Works from the FACE (Foundation of Arts for a Contemporary Europe) Collections
Fondazione Sandretto Re Rebaudengo
Turin, Italy
October 21, 2009 – February 7, 2010
www.art-face.eu/exhibition.html

Chance encounter of Cuccuru, Scolari and Hans Bellmer on a . . ., 2009, Giclée print on cotton paper

Sara Meltzer Gallery is proud to present Edgar Orlaineta at ARTISSIMA 2009 in the section “Present Future”.
“Present Future” is a special curated section of the fair devoted to emerging talents, the team of curators for this year edition is – Aurélie Voltz, Jimena Acosta Romero, Adam Carr and Simone Menegoi – .

ARTISSIMA 16
The International Fair of Contemporary Art in Torino
6-8 November, 2009
Preview and Opening: November 5th, 2009
Lingotto Fiere, Turin
www.artissima.it

Sara Meltzer Gallery
525-531 West 26th Street
New York, NY 10001
t: 212-727-9330
f: 212-630-0397
info@sarameltzergallery.com
www.sarameltzergallery.com/artist.php?artist=orlaineta

A Heap of Greens, acrylic and oil on board, 30 x 40 inches, 2009

LANDSCAPE REVISITED
curated by Dodie Kazanjian
Park Avenue Armory, Historic Rooms
643 Park Avenue, NYC
October 30th – November 15th
12 – 6 pm daily

suescottgallery.com/artists/Suzanne-McLelland

Sketch 12

Samantha Donnelly: Sheer Sliver
13 November – 20 December 2009
Preview 12 November 6-8pm, Ceri Hand Gallery, Liverpool, UK

Samantha Donnelly creates sculptures, collages/assemblages, films and drawings investigating relationships, experiences of time, space and memory. Her choice of sources and materials reflects a playful and seductive approach – from cast bronze, magazine adverts, bulldog clips, National Geographic photo stories, vintage jewellery and mementos to modelling wax.

In her first solo show at Ceri Hand Gallery, Donnelly presents a new body of work drawing on Simon Schama’s interpretation of The Ecstasy of St Theresa (1644-1647, Gian Lorenzo Bernini) in the BBC TV series The Power of Art.

Filming art history book drawings of this work, Donnelly has re-created The Ecstasy of St Theresa utilising the same long, languid pans of the sculpture witnessed in the TV footage. Donnelly highlights the BBC’s attempt to communicate the surface (the folds, ruptures and physicality) and the rapture embodied in the work. Donnelly’s film is projected onto a roller blind, neatly re-presenting the creative process and time, embodied as drawing-sculpture-film-drawing-film-sculpture, framing the exhibition as an orchestrated spectacle.

The concerns and details of Bernini’s work are played out within the gallery: The fluidity and lightness of the drapery on St Theresa’s habit, eternally frozen in a moment, is referenced in the bronze sculptures; the angels spear and the sun-rays are re-visited through reflective surfaces; the marble inlay on the floor of the altar depicting ‘the very threshold of the underworld… where the earth splits… and the skeletal dead clamber forwards’ is reflected in the small falling collaged matadors outfits, (taken from press cuttings), repeated and secured with hat-pins.

The extended hand and the curling foot of St. Theresa are used as a motif in several different works such as the Sketches series, referencing touch and drawing the eye to points in space. These jewel-like works personify desire, and the transcendent power of the must-have object.