STRELKA INSTITUTE | APPLICATION DEADLINE

Courtesy Strelka Institute for Media, Architecture and Design.

The New Normal  7th academic year: February–July 2017 Application deadline: November 6, 2016, 12pm Strelka Institute for Media, Architecture and Design Bersenevskaya nab., 14, building 5A 119072 Moscow Russia applytostrelka.com The theme of the 7th academic year at Strelka isThe New Normal. Research will focus on the new contemporary condition, which has emerged because of the rapid development of technology—including machine intelligence, biotechnology, automation, alternative spaces created in VR and AR—and define new paths for urban design and development. The New Normal program key facts: – a multidisciplinary postgraduate programme in English – tuition-free, monthly stipend of 600 USD – 5 months from February 2017 to July 2017 – 30 international students from Russia and abroad The multidisciplinary programme at Strelka in 2016/17 is designed not only for experts in media, architecture, design and urbanism. In addition, this year Strelka invites young specialists from Russia and abroad who work in creative industries (artists, scenarists, writers, filmmakers), and other fields like software studies, digital media, social sciences, etc.Application deadline is on November 6th. New Education Programme Director at Strelka Institute is Benjamin H. Bratton—an American sociologist and design theorist. Bratton is a Director of the Center for Design and Geopolitics at the University of California, San Diego, where he has become a tenured professor and developed a program on speculative design. He is also a Professor of Digital Design at the European Graduate School and Visiting Faculty at Sci-Arc. Benjamin H. Bratton about The New Normal: “Have our technologies advanced beyond our ability to conceptualize and describe their implications? If so, such a gaps can be perilous. In response, one impulse is to pull the emergency brake, and to try to put all the genies back in all the bottles. This is ill-advised (and hopeless). Better instead to invest in emergence, in contingency, in designation: to map the New Normal for what it is, and to shape it toward what it should be. That is what we strive to in the coming academic year.” In addition to Bratton, Lev Manovich, expert in new media, is a leading member of faculty. Lev was one of the first to work with big data and information analysis in social networks. Lev is the author of a famous book ‘The Language of New Media’ and director of the Software Studies research initiative which produced the Selfiecity project. The Verge put him on the list of the 50 people who create the future. Among other сore faculty members are Liam Young, an architect and futurologist, who operates in spaces between, design, fiction, and cinematic futures, founder of Tomorrow’s Thoughts Today and design faculty at Sci-Arc, Keller Easterling, and architect, writer and professor at Yale University and Metahaven, Amsterdam-based studio for design, research and art, founded by graphic designers and writers Daniel van der Velden and Vinca Kruk, who teached at ArtEZ Academy of Art and Design, Yale University, New Haven, and Sandberg Instituut in Amsterdam. Other research faculty of the programme will includeJulieta Aranda, Benedict Singleton, Ed Keller, Sascha Pohflepp, Casey Reas, Sougwen Chung, Stephanie Sherman and others. The program consists of thematic modules: The New Normal: Students will examine the challenges posed by emerging technologies but the forms of speculative urbanism we will explore have to do with shifting boundaries between human, society, system, and ecology. Pattern Recognition: In this module students will learn new techniques in quantitative and qualitative analysis, data visualization, and cultural analytics. Synthetic Sensing: The module is about several new design technologies, including virtual / augmented reality, biosensing, and 3D scanning. Speculative Megastructures: Science-fiction often anticipates things before they arrive. The lesson is that we cannot enact another urbanism before we imagine it and model it. This module will explore potential urban futures, from the metabolisms of global flows to infrastructure scale robotics, and how 21sts century modernity will be shaped by how cities rise to common challenges. Platform Design: The design outcomes of the program will mix traditional and emerging forms of design and media to reset the terms of the urban discussion. In this module will learn strategies for the development and communication of design projects as speculative urban platforms, incorporating branding, user experience, narrative, irony, paradox and sleight-of-hand to turn audiences into users, developers, believers, collaborators. Here urban futures move from fiction into prototype. About Strelka Institute Strelka was founded in 2009 to change the cultural and physical landscapes of Russian cities. The Institute promotes positive changes and creates new ideas and values through its educational activities. Strelka provides brand new learning opportunities, while the city remains at the centre of the Institute’s research programme. Strelka Institute was included in the list of 100 best institutions for architecture according to the Domus magazine and also is a holder of Russian pavilion’s special mention of the Venice Architecture Biennale 2014. The Chairman of the Board of Trustees of the Institute — Alexander Mamut.

2016 IFPDA PRINT FAIR HIGHLIGHTS

John Baldessari, Octogon, 2016. 3-color screenprint, 40 1/4 x 36 inches. Courtesy of Gemini G.E.L at Joni Weyl.

2016 IFPDA Print Fair highlights November 3–6, 2016 Press preview: Wednesday, November 2, 4–5pm (pre-registration required) IFPDA Foundation benefit reception: 6:30–9pm (tickets available on print fair website) The Park Avenue Armory 643 Park Avenue New York, NY 10065 www.printfair.com Facebook / Instagram / Twitter The International Fine Print Dealers Association (IFPDA) is pleased to announce its major exhibitor highlights for the 2016 IFPDA Print Fair. The fair, which celebrates its 25th Anniversary this year, will take place from November 3 through 6 at the Park Avenue Armory in New York. The Print Fair will welcome 87 international exhibitors, presenting works that encompass the full breadth and richness of printmaking, reflecting the IFPDA's commitment to expanding public awareness and connoisseurship of prints. Highlights from the 2016 Print Fair range from Old Master to contemporary, and rare masterworks to new-to-market editions, a selection of which include: –New editions from international artists Beatriz Milhazes at Pennsylvania's Durham Press, Tracey Emin andUrs Fischer at New York's Carolina Nitsch, Georg Baselitz at Galerie Sabine Knust in Munich, Ryan McGinness and Ross Bleckner at Polígrafa Obra Gráfica in Barcelona, and Wayne Thiebaud at San Francisco's Crown Point Press. –David Tunick, Inc. will present one of Rembrandt's rarest prints, Woman Sitting Half Dressed Beside a Stove (c.1658) in a newly discovered state, marking a significant discovery in Rembrandt scholarship and connoisseurship. –Niels Borch Jensen Gallery & Editions will present their first project with Julie Mehretu, a complex six-paneled project entitled, Epigraph, Damascus. In this politically charged work, Mehretu uses layered architectural drawings of the war-torn city as a point of departure, infusing them with painterly gesture to create her notion of “story maps of no location.” –Madame Cezanne's Hairdos, by John Baldessari, will be presented by New York's Gemini G.E.L. at Joni Moisant Weyl. Inspired by the Metropolitan Museum of Art's 2015 exhibition and catalogue of Paul Cézanne's portraits of his wife, Baldessari abstracted the differences in Madame Cézanne's hairstyle to produce eight screen-prints in the conceptual artist's trademark witty style. –Among the Print Fair's earliest works is a colored woodcut in pristine condition, dating from 1478 by Anton Sorg from the collection of Dr. Hellmuth Wallach at London's Emanuel von Baeyer. This collection has not seen in public since the 1970s. –Egenolf Gallery Japanese Prints will be presenting a themed booth, "Dusk into Night: Evening Landscapes in Japanese Prints," including works by Hiroshige, Kiyochika and Hasui. In these prints, which include several rare designs from before the 1923 earthquake, the artists capture the richness of the falling dusk until the rising dawn. The IFPDA Print Fair is open to the public Thursday, November 3–Saturday, November 5 from noon to 8pm, and Sunday, November 6 from noon to 6pm. Tickets are 20 USD for daily admission and can be purchased ahead of time online or at the fair. About The IFPDA & The IFPDA Print Fair The IFPDA aims to promote a greater appreciation and a deeper understanding of fine prints among art collectors and the general public through the annual IFPDA Print Fair, as well as public programming, awards, and funding for institutions via its public charity, the IFPDA Foundation. The IFPDA Print Fair was established in 1991, and has been held annually with the exception of 2001. Proceeds from the Fair support its educational programs and the IFPDA Foundation, which provides grants to museums and cultural institutions worldwide to support a greater awareness of prints as an artistic medium. Media contacts For further information, images, or to arrange an interview, members of the media may contact: Elisabeth Meddin / Kat Mills, Blue Medium Inc.: T +1 (212) 675 1800, elisabeth@bluemedium.com /kat@bluemedium.com

TIM VAN LAERE GALLERY | TAKE CARE AMIGO

Adrian Ghenie, Degenerate Art, 2016. Oil on canvas, 47 x 39 cm. Courtesy Tim Van Laere Gallery.

Take care, amigo October 13–November 19 2016 Tim Van Laere Gallery Verlatstraat 23-25 2000 Antwerp Belgium T +32 3 257 14 17 F +32 3 257 14 25 info@timvanlaeregallery.com timvanlaeregallery.com Tim Van Laere Gallery is pleased to present a group exhibition featuring works by Otto Dix, Armen Eloyan, Adrian Ghenie, A.R. Penck, Peter Rogiers, Ben Sledsens and Rinus Van de Velde. Taking its title from an expression Tim Van Laere and the gallery's artists use in their daily correspondence, Take care, amigo presents works centering on painting, sculpture and drawing. Otto Dix (b. 1891 Gera; 1969, Singen) was very affected by World War I, when he was at the front and his work is heavily inspired by the images of combat, desolation and misery, engraved on his memory. His work is is included in collections such as MoMA, New York; Centre Pompidou, Paris; the Met, NY; Guggenheim Museum, New York. Armen Eloyan (b. 1966, Yerevan; lives and works in Zurich), who states that his paintings are a reference to the structure of a joke, predominantly paints large scale canvases in lush primary tones. His work has been exhibited at galleries and institutions worldwide, including Timothy Taylor Gallery, London; Galerie Bob van Orsouw, Zurich; Parasol Unit Foundation for Contemporary Art, London; and A Vision of Central Europe, curated by Luc Tuymans, Bruges, 2010. At first sight Adrian Ghenie's (b.1977, Baia-Mare; lives and works in Cluj and Berlin) paintings deal with subjects that carry a historical set of references, but collective memory is constantly challenged by enigmatic prophetic actions, occulted and personal folds in the temporal linearity. Ghenie's works have become increasingly complex and multilayered, generating an open-ended set of internal and external meanings. Recent solo exhibitions include the Romanian Pavilion at the Venice Biennial (2015); CAC Málaga; the Museum for Contemporary Art, Denver; S.M.A.K. Museum, Ghent; the MNAC, Bucharest. His work has been included in group exhibitions at the Palazzo Strozzi, Florence; SFMOMA, San Francisco; the Francois Pinault Collection at Palazzo Grassi, Venice. A.R. Penck (b. 1939, Dresden; lives and works in Dublin) became one of the foremost exponents of the new figuration, Neue Wilde alongside Jörg Immendorff, Georg Baselitz and Markus Lüpertz. Under the East German communist regime, they were watched by the secret police and were considered dissidents. In the late 1970s they were included in shows in West Berlin and were seen as exponents of free speech in the East. He has presented numerous solo exhibitions worldwide including Kunsthalle Bern; Van Abbemuseum, Eindhoven; Museum Ludwig, Cologne; Gemeentemuseum, The Hague; The Irish Museum of Modern Art, Dublin; Museo Rufino Tamayo, Mexico City; Schirn Kunsthalle, Frankfurt; and Musée d'Art Moderne de la Ville de Paris. Peter Rogiers's (b. 1967, Antwerp; lives and works in Oud-Heverlee) ironic-expressive sculptures hover between abstraction and figuration, combining both a tremendous craftsmanship and an innovative visual language. His work has been exhibited at galleries and institutions worldwide, including Middelheim Museum, Antwerp; Galerie Thomas Schulte, Berlin; De Garage, Mechelen, Belgium; and Galerie Richard, New York. His works are in a number of collections, including Mu.ZEE (Fine Art Museum Ostend),  SMAK (Stedelijk Museum voor Actuele Kunst Gent), M HKA (Museum van Hedendaagse Kunst Antwerpen), Middelheim Museum, Antwerp, and LACMA, Los Angeles. Ben Sledsens's (b. 1991, Antwerp; lives and works in Antwerp and London) paintings display the contrasting textures of the materials, such as matte acrylic, bright oil, spray paint. Central to the work is his profound understanding of painterly tradition. His large format canvases exist in a long tradition of painting that reference Henri Matisse, Henri Rousseau, and Pieter Bruegel the Elder, yet his works are part of a bigger poetic universe that is all his own. Rinus Van de Velde (b. 1983, Leuven; lives and works in Antwerp) has developed a practice that results in monumental, narrative charcoal drawings, but behind which lies a much broader production. He combines, amongst others, found and staged photography, performances without spectators, cinematic narrative techniques, installations, and sculptures. These elements serve as the basis of drawings that depict a completely different world, yet also document a very real working process that takes place mainly in the studio. Solo shows at König Galerie, Berlin (forthcoming); Gemeentemuseum, The Hague (forthcoming); S.M.A.K., Ghent; Kunsthalle São Paolo; CAC Málaga, Spain; Artisanal House, New York.

SPRUTH MAGERS | HANNE DARBOVEN

Hanne Darboven, Erdkunde I, II, III (Geography I, II, III), 1986. 723 sheets of collage (photocopy, photograph), felt pen, pencil on paper, and 10 classroom maps with tripods, each panel 27 5/8 x 19 3/4 inches. Image courtesy of Sprüth Magers, Los Angeles. © Hanne Darboven Foundation, Hamburg and ARS, New York, 2016. Photo by Joshua White.

Hanne Darboven at Sprüth Magers, Los Angeles September 9–October 29, 2016 Rows of numbers instill in me a sickening panic. I got that feeling, familiar from childhood mathematics lessons and annual tax returns, in Hanne Darboven's current exhibition at Sprüth Magers, Los Angeles. Perhaps there was no need for such histrionics. In 1973, the West German Darboven told the writer Lucy Lippard that her art has "nothing to do with mathematics. Nothing!" For Darboven, numbers were a means of marking out time and space, "writing without describing."(1) For the most part, her work is not as concerned with calculation as with counting. Numbers, written sequentially, are akin to seconds ticking on a clock, days counted on a calendar or beats in a piece of music. (Indeed, in 1979 Darboven developed a system of musical notation which she used until the end of her life, in 2009, to write compositions for chamber orchestras and string quartets.) Darboven's work generally consists of gridded pages of annotations and numerical inscriptions, sometimes handwritten, sometimes typed or printed; in 1978 she began including collaged elements such as her photographs and cuttings from books. In a single work, these pages can number in the hundreds or thousands. On the ground floor of the gallery, the staggering Erdkunde I, II, III (Geography I, II, III) (1986) is the earliest work in this show, and perhaps the most confounding. It includes 723 panels of text and collage; upstairs, another work, Leben, leben / Life, Living 1997-1998 (1998) comprises 2782 individually framed pages. Erdkunde I, II, III departs from the form of the encyclopedia. Part one is an index, of sorts, although it also contains transcriptions and printed excerpts from the Brockhaus encyclopedia's entries for Erde [earth] andErdkunde [geography]. Parts two and three consist of Darboven's own entries for these subjects: a numbered system of index cards, each bearing a single word or name. Most are places, but among "Alpen," "München," and "Park" are entries for "Bacall, L.," "Hefner, H.," and "Hitler, A." No rationale, method, or context is provided. Unlike the Brockhaus, Darboven's piece is unusable in any conventional sense. It is both brimming with information, and virtually empty. Printed pages that occur throughout are filled with looping lines, resembling abstracted script, saying nothing. Erdkunde I, II, III is a visualization not of knowledge itself but of the drives and methodologies involved in getting and keeping it. One challenge here is in finding a way to read work that is based in apparently rational systems of numbers and words but which is, more often than not, illegible or unresolvable. This illegibility is not aided by my own poor German, nor by Darboven's erratic handwriting. Leben, leben / Life, Living 1997-1998 involves an idiosyncratic method of numbering a daily calendar for the twentieth century. Try as I might, I cannot follow Darboven's logic. Often, it seems as if Darboven is deliberately complicating—even corrupting—her own systems. In Erdkunde I, II, III, she interrupts the flow with photographs of her studio and of her famous earlier work Cultural History 1880–1983 (1980–83) at the Musée d'Art Moderne de la Ville de Paris, exhibited in 1986, as if it were another form of index. We catch glimpses of wry humor, too. Around the gallery, antique children's classroom posters condense convoluted systems—an industrial milking parlor, for example, or "2000 years of history"—into unintimidating illustrations. Darboven was evidently partial to these macro perspectives. In Leben, leben / Life, Living, two dolls' houses—one traditional, one modernist—are included in the installation, along with photographs of the same dolls' houses in the artist's home. Darboven was an inveterate hoarder and her collections of bric-a-brac and antiques often made their way into her work. When viewed as analogous systems to her numerical works, these sprawling collections grant the latter a subjective looseness while they themselves absorb something of a process-oriented rigor. The photographs featured in Darboven's work are a means of tying the seemingly impersonal structures of Systems art to the disorderly flotsam and jetsam washed up by the tides of history. She is concerned with understanding time not only in an abstract philosophical sense but also as the structure underpinning all sociological and political phenomena. Time is never neutral or innocent in her work. The most compelling piece in the exhibition also happens to be the most concise. (A relative term in Darboven's case.) Für Abraham Lincoln [For Abraham Lincoln] (1996) hangs in a back room, set apart from the main exhibition due to space constraints. A photograph of two antique figurines recurs across 776 panels: a stooped black man, carved in polished wood, lifting up a figurine of Lincoln. The dynamic forced by Darboven onto the images of these two found objects is troubling and far from valedictory; her insertion of pages from a "classic jazz" calendar from 1989—in which every famous musician is black—is an ambivalent measure of the years since 1863, when the Emancipation Proclamation was passed. As with the other works in this exhibition, Darboven presents a selection of facts, without comment: writing without describing. (1) Hanne Darboven, quoted in Lucy Lippard, "Hanne Darboven: Deep in Numbers," Artforum 12, no. 2 (October 1973): 35–36. Jonathan Griffin is a writer living in Los Angeles. A contributing editor for frieze, he also writes regularly for Art Review and Art in America. His book On Fire was published this spring by Paper Monument. See more images