CHRISTIAN BOLTANSKI | FONDAZIONE MERZ

(1) Christian Boltanski, Hôtel de Immigrantes, 2012. (2) Christian Boltanski, Dopo, 2015. (3) Christian Boltanski, Théâtre d'ombres, 1984.

Christian Boltanski DOPO November 3, 2015–January 31, 2016 Fondazione Merz Via Limone 24 10141 Turin Italy Hours: Tuesday–Sunday 11am–7pm T +39 011 1971 9437 info@fondazionemerz.org www.fondazionemerz.org Facebook / Twitter

From November 3, 2015, the Fondazione Merz presents Christian Boltanski. DOPO (After), a solo exhibition of the French artist, curated by Claudia Gioia.

Christian Boltanski (Paris, 1944), one of the great interpreters of contemporary life, displays his work for the first time in Turin with a new, site-specific project. The exhibit unfolds inside the Fondazione gallery spaces and is conceived as a total installation, a choral narrative addressing individual and collective memory, entwining the past with the present, urging unattended promises, recombining history with each individual's life.

Boltanski's subject matters are history and life duration. Vulnerability is his strength, and reflecting upon absence is his way to express his passion for what is real. And so Boltanski builds his own archives, moves shadows around the gallery space, or brings forgotten memories back to the surface through the eyes and faces of strangers that emerge from found photographs; he synchronizes the sound of the human heartbeat to the rhythm of history; he creates settings with old clothing so that individual stories may not be dispersed; he investigates fate and challenges, through irony, the transience of things to propose the art of time.

The exhibition path starts off with a significant installation consisting of about 200 large-scale photographs printed on fabric. Hanging from the ceiling and moving around the gallery space, they portray faces and images of everyday life taken from Boltanski's personal archive, which he built through the years and where stories are condensed into a look, a portrait, a snap shot. The constant movement created by the suspended images is an invitation to let oneself go with the flow of time and memory. What happens afterwards? And how many afterwards are already there in people's lives, in their recollections and fortuitous past events? The photographs fly around like facts of life. Visitors can decide whether to just look at them or physically move after them, but eventually they will have to let them go, and think of what will happen next.

A series of quick sequences—life flashbacks, from young age to adult age—also linger on Boltanski's faceEntre Temps. His photographs lend themselves to the game of time going by, as memories change and shrink until they become shadows. Shadows that appear unexpectedly, like quivering slender shapes stretch out on the walls evoking presences that linger between dream and reality, in a game where the playful aspect is combined with anxiety, illusion and deceit. Like the photographs, these shadows put emphasis on human transience, on the effort to hold onto what is fleeing, insisting especially on man's personal involvement in this collective narrative called life, history, thought.

In the video Clapping Hands, a liberating applause accompanies visitors as they head down to the lower floor of the Fondazione. This is Christian Boltanski's tribute to Mario Merz's work and the ability to be present in one's own time, nurturing it and making it fruitful for those who will come next.

The exhibition path ends with two important installations. The gallery space is filled with cellophane-covered cardboard boxes piled one on top of the other to create different constructions of different sizes: unstable towers, fragmented archives—an evolution of the biscuit boxes Boltanski is so fond of—lie on the floor as if forgotten there, only slightly illuminated by the light bulbs that create the word DOPO (After) in the dark. Memory is right there and, like a brain circuit, it only awaits to be reactivated by opening drawers, looking into everyday life stories and playing with references to the present time.

Accompanying the exhibition is a publication featuring images of Christian Boltanski's works and installations displayed at the Fondazione Merz, the curator's interview with the artist, and an essay by philosopher Massimo Donà.

The exhibition is organized with the support of the Fondazione CRT.
Thanks to Kunh & Bülow and DUPARC Contemporary Suites.

Media contact
Nadia Biscaldi
T +39 011 19719436 / press@fondazionemerz.org

PAUL MCCARTHY | THE RENAISSENCE SOCIETY

Paul McCarthy, Dwarf House, 2009. Pencil and collage on paper, 97 x 80 inches. Collection of Rena Conti. Paul McCarthy Drawings November 8, 2015–January 24, 2016  Opening: November 8, 4–7pm, Paul McCarthy in conversation with Donatien Grau at 5pm  The Renaissance Society at The University of Chicago  Cobb Hall, 4th Floor  5811 S. Ellis Ave  Chicago, Illinois 60637 USA  Hours: Tuesday–Friday 10am–5pm, Saturday–Sunday 12–5pm  renaissancesociety.org  Twitter / Instagram / Facebook

The Renaissance Society presents over 75 rarely and never before seen works on paper from Paul McCarthy's hundreds of "White Snow" drawings, produced between 2008 and 2015. This is the artist's first solo exhibition in Chicago and is part of the Renaissance Society's Centennial program celebrating its 100th anniversary.

Known widely for his prolific output of video, sculpture, performance, and installation, Paul McCarthy also works extensively in two dimensions. The ongoing series "White Snow" reveals the artist's deft draftsmanship and layered, gestural approach to drawing. Co-curated by Solveig Øvstebø and Susanne Ghez, the current and former Executive Directors of the Renaissance Society, respectively, this presentation offers an opportunity to consider a significant area of this major artist's practice.

Sex and mythology, bodies and violence, death and humor—these works are at once familiar and repulsive. With his characteristic irreverent wit, McCarthy melds the iconic 1937 Walt Disney depiction of Snow White with the darker forces of the fairy tale's earlier incarnations. The selection here features figures in various stages of erotic play, architectural renderings, and textual annotation, ranging in size from small sketches to large collages. Also included are preparatory works for McCarthy's major installation, WS, at the Park Avenue Armory, New York in 2013.

McCarthy's drawings represent the threshold between fantasy and reality, the point at which the artist's imagination directly crosses over into the physical realm before being further developed into three-dimensional and time-based productions. Together, they form a body of work that reflects drawing as a direct mode of expression and a space of possibility. 

The exhibition is accompanied by a series of related events, including the theatrical premiere of McCarthy's seven-hour moving image work, WS. 

Tuesday, December 8, 7pm: Art historian Cary Levine presents lecture "The (De)Civilizing Process: Paul McCarthy's Regressive Regimes" at the Film Studies Center, Cobb Hall, 3rd Floor (one floor directly below the gallery)

Thursday, January 14, 7pm: Screening of McCarthy's White Snow Mammoth (2013, video, 90 minutes) at the Film Studies Center

Sunday, January 17, 2pm: Exhibition walk-through with Susanne Ghez and Solveig Øvstebø

Sunday, January 24, 1–8pm: Theatrical premiere of McCarthy's WS (2013, video, 7 hours), at the Film Studies Center

All events are free and open to the public. The screening program is presented in partnership with the Film Studies Center at the University of Chicago.

Paul McCarthy was born in 1945 in Salt Lake City and lives and works in Los Angeles. Solo museum exhibitions include Lala land parody paradise at Haus der Kunst, Munich and Whitechapel, London (2005); Head Shop / Shop Head at Moderna Museet, Stockholm (2006) and Stedelijk Museum voor Actuele Kunst, Ghent (2007); Central Symmetrical Rotation Movement – Three Installations, Two Films at Whitney Museum of American Art, New York (2008); and White Snow Dwarf (Dopey # 1) at Hammer Museum, Los Angeles (2011). He has participated in many international events, including the Venice Biennale (1993, 1999, 2001); the Whitney Biennial (1995, 1997, 2004); SITE Santa Fe (2004); and the Berlin Biennial (2006).

The Renaissance Society at the University of Chicago is committed to supporting ambitious artistic experimentation, primarily through the commissioning of new works, and to fostering rigorous, interdisciplinary discourse. In addition to the exhibition program, this independent, non-collecting museum hosts lectures, concerts, performances, screenings, and readings, and regularly publishes catalogues and artist books, which are distributed widely.

All of the Renaissance Society's exhibitions and events are free and open to the public.

The Renaissance Society turns 100 years old this year and celebrates with a special Centennial program of exhibitions and events from September 2015 to January 2016, including exhibitions by Irena Haiduk, Wadada Leo Smith, and Paul McCarthy; a presentation of archive materials from 1915 to 2015; a symposium addressing the role of the contemporary art institution; public programs on Gertrude Stein, visual arts on Chicago's South Side, and more; and a significant new publication covering the Renaissance Society's first century.

ZONARTE | ARTISSIMA

Fondazione per l'Arte CRT

ZonArte at Artissima 2015

6–8 November 2015



Artissima Fair
Oval Lingotto Fiere
Turin
Hours: noon–6pm

website
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ZonArte is the network promoted and supported by the CRT Foundation for Modern and Contemporary Art, bringing together the Education Departments of leading local institutions devoted to Contemporary Art: Castello di Rivoli—Museo d'Arte Contemporanea, Fondazione Merz, GAM Galleria Civica d'Arte Moderna eContemporanea and PAV Parco Arte Vivente, in collaboration with Cittadellarte—Fondazione Pistoletto and Fondazione Sandretto Re Rebaudengo. Now in its sixth edition, the ZonArte project assesses and renews its agenda, consolidating its original identity and vocation to develop efficient models of cultural involvement, which it does by presenting art as an experience of knowledge as well as individual and collective growth. The Education Department of the Fondazione Merz is the coordinator of this year's edition, which is dedicated to reviewing what has been done so far while detecting new possibilities to develop actions that are essentially aimed at acknowledging the social value of art. The purpose behind the 2015 ZonArte project's program of activities has been defined by the will to bring attention to the educational role that museums play and give substance to a training process, which involves young students and graduate students from the Fine Art Academies and Universities. Combining theoretical, analytical and self-reflexive aspects with other more practical ones based on hands-on experience, ZonArte 2015 has organized a conference on the socio-cultural and educational role of contemporary art institutions, along with a workshop that will be followed through at Artissima Fair, where all visitors are invited to attend a series of actions, talks and discussions on the value of knowledge, experience and the relationships associated with the artworks. "Education as a Social Landscape" is the title of the conference that was held at the Fondazione Merz on October 8 and 9, through which the ZonArte network reflected upon the educational role as a democratic basis for the contemporary museum, looking into the reality of art institutions in relation to their ability to involve and include the public. The two-day event brought together Cesare Pietroiusti, Abdelkader Damani, Valeria Graziano and Giorgio de Finis. The results of this discussion will be further investigated at Artissima during talks with other art experts, including Marco Scotini, Piero Gilardi, Ugo La Pietra and Gianni Pettena. L'opera irraggiungibile. Esposizione di opere attraverso la narrazione, con molteplici dispositivi (The Unreachable work of Art, Exhibition through narration) is the title of an exhibition project that originated from the workshop led by artist Cesare Pietrioiusti. Using the investigation of the nature of the work of art as its starting point, the workshop allowed a group of young students to explore the specific scope of museums, where the issues of education and training overlap with those of accessibility and relationship with the public. Pursuing the work carried out in collaboration with Cesare Pietroiusti, ZonArte 2015 presents its project L'opera irraggiungibile at Artissima, offering its visitors a series of events where the young adults involved in the workshop will try to make manifest what cannot be actually shown. In fact, for this particular exhibition—the term "exhibition" used here not only in the sense of display, but also in the sense of manifestation and demonstration—the intention is to discuss works that can be defined as unattainable, either because they are literally inaccessible or because of their own intrinsic inaccessibility. Contact Fondazione Merz, Education Department: edu@fondazionemerz.org / T +3901119719792

LIU YE | CATALOGUE RAISONNE'

Hatje Cantz

Liu Ye—Catalogue Raisonné  The Complete Paintings from 1991 to 2015 www.theliuyebook.com www.hatjecantz.de

Edited by Christoph Noe

400 pages, hardcover, clothbound
English and Chinese
Published by Hatje Cantz in October 2015 
ISBN 9783775739221

We are pleased to announce the release of Liu Ye—Catalogue Raisonné, the complete collection of Liu Ye's paintings, including provenance, exhibition list, and literature records from the early 1990s to today.

Highlights
– First catalogue raisonné ever published on a Chinese contemporary artist
– A lavishly produced 400-page volume presenting Liu Ye's diverse body of works of nearly 300 paintings
– Featuring essays by Paul Moorhouse, the 20th Century Curator of the National Portrait Gallery in London;Philip Tinari, Ullens Center of Contemporary Art director; and award-winning art critic Zhu Zhu

About the book
This comprehensive and vibrant catalogue raisonné, compiled with the full participation of the artist Liu Ye, presents his diverse body of work and provides an overview of the paintings created between 1991 and 2015. The artist's distinct style plays with viewers' visual expectations and catches them unaware with surprising pictorial compositions. His paintings, which touch on a broad range of themes—inspired, for instance, by the Old Masters, Piet Mondrian, and Dick Bruna's Miffy—often integrate elements borrowed from these sources. Also featured are his portrayals of innocent yet challenging female characters. 

About Liu Ye
Liu Ye (b.1964, Chinese) is a Beijing-based contemporary Chinese painter, belonging to a generation of artists who grew up during the Cultural Revolution. His artworks are fixtures in many international museums, private institutions and collections, including the Shanghai Art Museum, Yuz Museum, Long Museum, and Olbricht Collection. His works have been exhibited extensively in China, Europe and the United States, and command millions of dollars at auction.

Contact
The Ministry of Art, press@theministryofart.com
Hatje Cantz, sales@hatjecantz.de

To order a copy, please contact: order@theministryofart.com or visit www.theliuyebook.com orwww.hatjecantz.com for more information about distribution partners.

ARTISSIMA 2015

Design: Tassinari/Vetta.

ARTISSIMA


6–8 November 2015
Preview and opening: 5 November

Oval, Lingotto Fiere
Torino

info@artissima.it

www.artissima.it


Renown for its focus on research and experimentation, Artissima 2015 is about to start: 207 selected established and young galleries from 31 countries; three curated sections, including 20 Present Future solo shows by emerging artists; 25 Back to the Future booths dedicated to the rediscovery of the decade '75–'85; and 12 surprising live actions in the Per4m section. This year, over 50 curators and museum directors are contributing to the fair's programme while collectors become active participants.

Collectors involved in the fair's projects:
Renato Alpegiani, (Juror of the Fondazione Ettore Fico Prize)
Pedro Barbosa (Speaker of the Walkie Talkies programme)
Corrado Beldì (Speaker of the Walkie Talkies programme)
Gil Brandes (Speaker of the Walkie Talkies programme)
Josef Dalle Nogare (Speaker of the Walkie Talkies programme)
Vittorio Dapelo (Speaker of the Walkie Talkies programme)
Giorgio Fasol (Juror of the Prix K-Way Per4m)
Gabriella Martino  (Speaker of the Walkie Talkies programme) 
Carlos Marsano (Speaker of the Walkie Talkies programme)
Maurizio Morra Greco (Juror of the illy Present Future Prize)
Lorenzo Paini (Juror of the Sardi per l'Arte Back to the Future Prize)
Maurizio Rolando (Speaker of the Walkie Talkies programme)
Philip and Rosella Rolla (Jurors of the Reda Prize)
Ronald Rozenbaum (Speaker of the Walkie Talkies programme)
Patrizia Sandretto Re Rebaudengo (Juror of the Promos Scalo Milano New Entries Prize and speaker of the Walkie Talkies programme)
Alain Servais (Speaker of the Walkie Talkies programme)
... and many more 
  

Curators involved in the fair's projects:
Pierre Bal Blanc, Documenta 14, Kassel (Juror of the Promos Scalo Milano New Entries Prize and speaker of the Walkie Talkies programme)
Daniel Baumann, Kunsthalle Zürich, Zurich (Juror of the illy Present Future Prize)
Ilaria Bonacossa, Museo d'Arte Contemporanea Villa Croce, Genova (Speaker of the Walkie Talkies programme)
Sabine Breitwieser, Museum der Moderne Salzburg (Juror of the Sardi per l'Arte Back to the Future Prize)
Marie de Brugerolle, independent curator and writer, Lyon (Juror of the Prix K-Way Per4m)
Andrea Busto, MEF – Museo Ettore Fico, Torino (Juror of the Fondazione Ettore Fico Prize)
Lucrezia Calabrò Visconti, independent curator, Torino (Curator Blog Notes)
Stefano Collicelli Cagol, Trondheim Kunstmuseum (Curator of In Mostra exhibition)
Luca Cerizza, independent curator, Milano and Berlin (Speaker of the Walkie Talkies programme) 
Jacopo Crivelli Visconti, independent curator, Sao Paulo (Juror of the Promos Scalo Milano New Entries Prize and speaker of the Walkie Talkies programme)
Florian Ebner, Museum Folkwang, Essen (Juror of the Reda Prize)
Silvia Fanti, Xing, Bologna (Juror of the Prix K-Way Per4m)
Eva Fabbris, independent curator, Milano (Member of the Back to the Future Committee)
Luigi Fassi, steirischer herbst, Graz (Member of the Present Future Committee)
João Fernandes, Museo Nácional Centro de Arte Reina Sofìa, Madrid (Member of the Back to the Future Committee)
Elena Filipovic, Kunsthalle Basel (Member of the Back to the Future Committee)
Francesco Garutti, independent curator, Milano (Speaker of the Walkie Talkies programme)
Sophie Goltz, Stadtkuratorin Hamburg (Member of the Per4m Committee)
Fatima Hellberg, Künstlerhaus Stuttgart (Member of the Present Future Committee)
Ana Janevski, MoMA, New York (Juror of the Prix K-Way Per4m)
Lara Khaldi, independent curator, Palestinian Museum Jerusalem (Member of the Present Future Committee)
Christine Macel, Centre Pompidou, Paris (Juror of the Sardi per l'Arte Back to the Future Prize)
Hadas Maor, independent curator, Tel Aviv (Speaker of the Walkie Talkies programme)
Simone Menegoi, independent curator, Milano (Member of the Per4m Committee)
Abaseh Mirvali, independent curator, Berlin and Mexico City (Juror of the Promos Scalo Milano New Entries Prize and Speaker of the Walkie Talkies programme)
Letizia Ragaglia, Museion, Bolzano (Juror of the Fondazione Ettore Fico Prize)
Cristiano Raimondi, NMNM Nuveau Musée National de Monaco (Speaker of the Walkie Talkies programme)
María Inés Rodríguez, CAPC Musée d'Art Contemporain de Bordeaux (Juror of the Sardi per l'Arte Back to the Future Prize)
Dieter Roelstraete, Documenta14, Kassel (Juror of the illy Present Future Prize)
Beatrix Ruf, Stedelijk Museum, Amsterdam (Member of the Back to the Future Committee)
Alberto Salvadori, Museo Marino Marini, Firenze (Juror of the Fondazione Ettore Fico Prize)
Chris Sharp, independent curator, Mexico City (Member of the Per4m Committee and speaker of the Walkie Talkies programme)
Natalia Sielewicz, Museum of Modern Art, Warsaw (Member of the Present Future Committee)
Nicolas Trembley, independent curator, Paris and Geneva (Speaker of the Walkie Talkies programme)
Fatos Üstek, independent curator and writer, London (Member of the Present Future Committee)
Marianna Vecellio, Castello di Rivoli Museo d'Arte Contemporanea, Rivoli-Torino (Curator Rachel Rose: illy Present Future 2014 Prize Exhibition)
Maurizio Vetrugno, independent curator and artist, Torino (Curator Opium Den)
Andrea Viliani, MADRE Museo d'Arte Donnaregina, Napoli (Juror of the Fondazione Ettore Fico Prize)
Eva Wittocx, M-Museum, Leuven (Speaker of the Walkie Talkies programme)
Francesco Zanot, Camera–Centro Italiano per la Fotografia, Torino (Juror of the Reda Prize) 


More to discover:
Opium Den 
A fully fledged curatorial project—the first of its kind for an art fair—the VIP Lounge will turn into an "opium den," offering an immersive and sumptuous aesthetic experience, an artist's visual essay, and intertwining suggestions, collections, images and visions.

In Mostra
A true museum exhibition within the fair, In Mostra brings together outstanding art from the contemporary collections in Piedmont and is constructed around the concept of "inclination" in its literary, scientific, philosophical and political sense.

Torino's art scene
During Artissima, Torino will offer a great number of exhibitions in its museums and institutions, such asTUTTTOVERO, a two-part-show curated by Francesco Bonami at GAM and Castello di Rivoli Museo d' Arte Contemporanea; Rachel Rose: illy Present Future 2014 Prize Exhibition at Castello di Rivoli Museo d' Arte Contemporanea; Adrián Villar Rojas at Fondazione Sandretto Re Rebaudengo; Christian Boltanski: Dopo at Fondazione Merz; Ed Ruscha: MIXMASTER at Pinacoteca Giovanni e Marella Agnelli; Boris Mikhailov: Ukraine at Camera (the new center for photography in town); and Vanità Vanitas, a group show at the MEF Museo Ettore Fico.
 

For the schedule of the Walkie Talkies, Meeting Point, and Book Corner, the galleries' list, the artists in Back to the Future and Present Future, and for the Per4m programme, visit www.artissima.it.
 

The event involves the collaboration of:
Main Partner: UniCredit
Partners: Aon, CTA, Girard-Perregaux, GTT, illycaffè, K-Way, Lancia, Lauretana, Leica, Owenscorp, Reda, Ruinart, Fondazione Sardi per l'Arte, Promos Scalo Milano
In kind-sponsors: Artsy, Cappellini, CarloAngela, FR Costruzioni, GL Events Italia - Lingotto Fiere, Halifax, Inkiostro Bianco, Kartell, Lago, Moret, Poltrona Frau, Sagat, Zaini Milano
Official Carrier: Gondrand
Media Partner: La Stampa
Media coverage: SKY Arte HD


ARTISSIMA is a brand of Regione Piemonte, Città di Torino and Città Metropolitana di Torino. ARTISSIMA is organised by Artissima srl, a company founded in 2007 to manage the fair's artistic and commercial relationships. It is owned by Fondazione Torino Musei, established by the City of Torino to support, manage and enhance the artistic and museum-based heritage of the city. The 22nd ARTISSIMA is being put on with the support of the brand-owning authorities, jointly with Fondazione per l'Arte Moderna e Contemporanea CRT, Compagnia di San Paolo and Camera di commercio di Torino.

RUM, SODOMY, AND THE LASH | EDEN EDEN

Rum, sodomy, and the lash| group show: Catharine Ahearn, Contemporary Art Writing Daily, Tony Conrad, Karl Andersson, Morag Keil, Bjarne Melgaard, Steve Reinke, Stephen G. Rhodes, Simon Thompson, Peter Wächtler

Organised by Ed Atkins and James Richards
Opening: Saturday 17.10.2015, 6- 9 pm
20.10.2015 — 16.0.2016
Eden Eden, Bülowstraße 74, 10783 Berlin

Rum, Sodomy, and the lash cites a trail of accrued quotes, beginning with Churchill’s sardonic (and more than likely misattributed) comment on the Royal Navy: “Don’t talk to me about naval tradition. It’s nothing but rum, sodomy, and the lash.” In 1985 it became the title of The Pogues second album because, according to drummer Andrew Ranken, it pretty bluntly summed up what being in the band entailed. The similarities between the two — the Royal Navy and a punk band — are consistent in both their circumstance and their subsistence: isolated communities of vital practical, emotional, and sexual co-dependence. Similarly, both communities are also parodies — more or less camp in their performance of the rules of the establishment. They are pragmatically, necessarily transgressive — and also intensely romantic in their promise and their aspiration. Both solicit to the fantasies of young men — both offer states of exception that not only afford transgression, but also actively adjure it. Hans Turley’s 1999 book, Rum, sodomy, and the lash: piracy, sexuality and masculine identity, discusses those ostracised, even, from the Navy: Pirates. Those sailors who never wanted to come back to traditional society, had given themselves over to a life of liberal deviancy, of re-describing their identities set adrift from a punitive and lopsided law. Never returning to society means the founding of another, defined antagonistically, parodically, fantastically, in relation to its parent. The primary object of piracy’s antagonism (property) is determined by the common law of the prevailing society, its image of society’s defining tenets. In Rum, Sodomy, and the lash, legality is practical recourse to order and the chastening of deviance as much as it is the dangerous retarding of desire. The moral imperative is retentive; pirates, punks, adolescents, queers, sub- and counter-cultural proponents relax the œconomy of the state.

The exhibition title’s enigmatic maxim is carried through the murk of deviation within and apart from the strictest limits of society (the military, education, the making of a prime minister) — it is also society’s burlesque, its punk

Rum, sodomy, and the lash | Eden Eden | 17.10.205