Hannes Bend was born in Neustadt in Holstein, Germany in 1980. He has been living and working in Berlin as an artist and independent curator since 2000. After graduating from Fine Arts College Berlin Weissensee in 2007, he exhibited internationally, with solo shows in Berlin and New York and has participated in The Wassaic Project Residency in Wassaic, New York in 2010.

He is currently an artist in residence at the Fountainhead Residency, Miami. In 2013 he will be an artist in residence at LegalArt, Miami.

In Marfa, Fischer has continued work on a multi-faceted piece that began as a kind of sculpture and was subsequently filmed — the subject being a mobile, colored glass house that over the course of being built, moved, suspended, and taken apart, embodies the formal, structural and emotive properties that inform his work.

Fischer was born in Minneapolis in 1968, and lives with his wife and two children in Brooklyn. He received his BFA from the Minneapolis College of Art and Design in 1993. Rob has had exhibitions of his work at the Hammer Museum, Los Angeles; Whitney Museum of American Art at Altria, New York; Cohan and Leslie, New York; Mary Goldman Gallery, Los Angeles; Contemporary Arts Forum, Santa Barbara; Franklin Art Works, Minneapolis; Max Wigram Gallery, London; and Art in General, New York. His work has also been featured in group exhibitions, including the 2004 Whitney Biennial; Greater New York, P.S.1, Long Island City, New York; Open House: Working in Brooklyn, Brooklyn Museum of Art; Corcoran Gallery of Art, Washington, D.C.; Sculpture Center, Long Island City; Art and Idea, Mexico City; and the Walker Art Center, Minneapolis.

For more information, please contact:
The Chinati Foundation
1 Cavalry Row
Marfa, TX 79843
t 432 729 4362
chinati.org

Lobo’s practice is one of variance and ambition, both conceptually and technically. He has consistently attempted to materialize the invisible while allowing his specific agenda to determine the media. In Grape Syrup Action for Paul Octavian Nasca’s “U Smile 800% Slower,” 2011, Lobo has created an accompanying video for a track that oddly became a Youtube sensation despite existing only as audio. The song in question – Nasca’s super slowed-down version of Justin Bieber’s “U Smile” – blares indiscernibly like an ominous Gregorian chant, while a masked figure in a white Hazmat suit sprays gallons of grape cough syrup onto a white wall. Disjointed ambiguity pervades the work as the identities of the sound, the liquid and the figure remain concealed throughout the video’s mesmerizing fourteen minutes and thirty-seven seconds.

In the series Microwaved CD Pen Tests, 2011, the artist uses the lasers of a light jet machine to expose photo paper in the red, green, blue and black spectrum normally emitted to produce life-like photographic color. The exception to the pure color are images of CDs, briefly microwaved, providing a prismatic counterpoint, splitting the mechanical light into rainbow hues. On this backdrop the artist renders intuitive, gestural markings which appear akin to those of Gottlieb, Marden or Twombly. The result is an Arcimboldo-esque composition that evokes representational portraiture, but whose components are wholly abstract.

Elements of audio detritus and distorted vocal deviances are also evident in slabs of granite and marble leaned casually against the gallery wall. Each slab features the telephone number from various phone sex hotlines watercut into it, achieving a degree of permanence that is otherwise foreign to a medium and industry facing rapid obsolescence in the face of the internet’s total absorption of sexual fetishism.

In Glideslope, 2008, the standard descent ratio for landing an aircraft (three degrees to the horizon), is made manifest in an imposing eight-foot terrazzo cast. Normally a disembodied wire-frame graphic used to assist the pilot, in Lobo’s hands the glideslope becomes a tangible representation of a frequently traveled immaterial space whose hollow-core existence was previously relegated to two-dimensional charts and its practical application.

Gum, dropped will be on view through January 14th. A digital catalogue will accompany the exhibition.

Interview with Andrew and Andrew on East Village Radio | Radio Payer

Brunch Reception: December 2nd, 2011 9am- 1pm
Exhibition runs from November 30th to January 31st (Tuesday – Friday 12pm – 5pm)

MIAMI, LegalArt is proud to present “Four Minutes, Thirty-Three Seconds” an exhibition by visiting curator Omar Lopez-Chahoud inspired by the 1960′s Fluxus Movement. This exhibition will take place on the 2nd and 4th floor of LegalArt, with a reception on December 2nd from 9am to 1pm at the time of LegalArt’s “Art Basel Collector’s Brunch”.

“Four Minutes, Thirty-Three Seconds” revisits the liberated attitude towards the creative process that defines the Fluxus movement. This project coincides with significant exhibitions happening at MOMA, NY; the Grey Art Gallery; NYU and at the Storefront for Art and Architecture, in collaboration with Performa 2011. This leads us to reflect on the similar attitudes between Fluxus actionists and a younger generation of artists as well as the socio-economic context in which these responses arise.
The title of this exhibition makes reference toa piece by composer John Cage, a notable influence on the Fluxus work of Lithuanian-born artist George Maciunas. Maciunas (1931-1978) organized the first Fluxus event in 1961 at the AG Gallery in New York City and the first Fluxus festivals in Europe. The Fluxus art movement in the 1960′s and 1970′s was characterized by a strongly Dadaist attitude, promoting artistic experimentation mixed with social and political activism. Often celebrated anarchistic change, Fluxus members avoided any limiting art theories and spurned pure aesthetic objectives. Their activities resulted in events or situations often called Aktions (works challenging the definition of art) and included performances, guerilla or street theater and concerts of electronic music, many of them similar to what in America were known as Happenings.

In the spirit of the Fluxus tradition, Omar Lopez-Chahoud has invited local and international artists, collaboratives, situationists, and curators to present projects in the form of publications, events, discussions, performances, situations, and other actions. These groups and individuals will activate the space in a way similar to the Happenings of the Fluxus Movement, inspired by an anti-art and anti-consumer enthusiasm. Participants in this exhibition include: Augurari Editions, Rodolfo Andaur, Hackworth Ashley, Spring Break, Monserrat Rojas Corradi, Cat Dove, Viking Funeral, Andrea Galvani, Jay Hines, Scott Hug, Karlo Ibarra, Carlos Irijalba, Brookhart Jonquil, Jason Keeling, Kristin Korolowicz, Liz Magic Laser, Nicolas Lobo, Gean Moreno, Richard Mosse, Ernesto Oroza, Gaston Persico, Manny Prieres, Print and Paste Collective (FAU), Megan Riley, Tom Scicluna, Joaquin Segura, SOMA, Natika Soward, Lara Stein Pardo, Suzanne Stroebe, Third Streaming/Yona Baker, Cecilia Szalkowicz, TM Sisters, Pinar Yolacan and others.

Omar Lopez-Chahoud has made use of his LegalArt residency as a lab for ideas, strategies and questions that organically shape the content of this exhibition. This project, like Cage’s composition, creates a potential space for creative energy and responses, facilitating a fertile dialog with the community outside of the traditional gallery venue. Publications produced by artists, curators, and art organizations will be available for research on the second floor of LegalArt. The exhibition continues on the fourth floor with multimedia installations and performances.

On December 2nd a series of panel discussions, performances and open studios will be taking place. See schedule below.

Second Floor:
11:00am Ernesto Oroza: “Architecture of Necessity” The panelist talks about how Cubans intervene in architecture out of necessity and everyday survival in Cuba.
12:00pm Rodolfo Andaur: “Local Reality as Memory Desertification, Contemporary Art in the North of Chile” The Chilean curator talks about the political and geographical impact of art in the North of Chile.

Third Floor:
9:00am – 1:00pm Art Basel Brunch Reception
9:00am – 1:00pm Open Residency Studios: Viking Funeral, Pachi Giustinian, Jiae Hwang, Brookhart Jonquil, Manny Prieres and TM Sisters

Fourth Floor:
Performance schedule TBA
LegalArt
1035 N Miami Ave
Miami, FL 33136

Three over-life-size prints present a computer generated image of the artist’s head, each being a completely unique and singular representation made by running the sheet of paper through a printer multiple times without a calculated result in mind. Dupont plays with the conception of self in a technological age by distorting and altering the data – and therefore, his image – to highlight both the malleability and complexity of the information gathered in the body scan.

Dupont’s life-size sculptures of the human head explore similar themes of experience and memory. These are large translucent molds cast from scans of the artist’s own head that he has filled with decade-old detritus, salvaged studio materials, and found objects which are then fused into a solid by an additional pour of stable polyurethane resin. These captivating works serve as time capsules that offer a tangible perspective on the presentation and preservation of self through memory. A striking metaphor for our own minds, which are constantly cluttered with mental detritus, the particular sculpture on view at Middlebury utilizes old photographs and postcards.

Dupont will be speaking about his methods and motives in an illustrated talk on Tuesday, November 15th at 4:30 pm in the Christian A. Johnson Memorial Building, off Route 125 on the College campus. The public is cordially invited to attend.

http://museum.middlebury.edu/exhibitions/node/811

Wireless: Francis Baudevin, Matthew Beiderman and Marko Peljhan, Dove Bradshaw, Nathan Carter, Tyler Coburn, Aaron S. Davidson and Melissa Dubbin, Ellie Ga, Nicolas Lobo, Neighborhood Public Radio, Daniel Perlin, Roman Signer, and Jim Toth

Curated by Elizabeth Lovero

In honor of community radio station KCSB’s 50th anniversary, CAF presents Wireless, an exhibition featuring an international roster of artists exploring themes of radio transmission and communications. KCSB is a leader in non-commercial FM radio and the resurgent free-form format in the U.S. KCSB 91.9 FM is run by the Associated Students of the University of California Santa Barbara, Santa Barbara, CA. Wireless at CAF showcases artists residing in New York, Berlin, London, and Santa Barbara whose work is similarly concerned with the conveyance of ideas, memories, and objects across distances long and short. Former KCSB DJ and CAF Assistant Curator, NY-based curator Elizabeth Lovero brings together diverse mediums, such as sculptural installations, painting, video, photography, and sound. Wireless addresses pertinent issues in the radio community by showing works that champion individuality, mirror the spirit of decentralization and diversity in ownership and programming, explore community and low-power radio stations, and challenge the corporate broadcasting formulas.

In addition, Jim Toth’s new sculptural speaker installation will carry a KCSB stream as well as a curated program of transmission artworks by the Wireless artists and the UCSB Multicultural Center will screen Magic Radio, a film about the democratic power of radio in Niger, on November 16, 6 pm at the MCC Theatre. Admission to exhibition and the above listed associated events is free.

Elizabeth Lovero is a curator and writer, who is currently pursuing an M.A. in Art History at Hunter College, New York, NY.

CAF’s exhibition Wireless is a collaboration between KCSB 91.9 FM, New Noise Music Foundation, and Santa Barbara Contemporary
Arts Forum on the occasion of KCSB’s 50th anniversary and the New Noise Digital Music Conference & Festival 2011. Visit sbcaf.org, kcsb.org, and newnoisesb.com for more information.

인간존재에대한본질적인문제의식을조각작품에담아내는리처드듀퐁(Richard Dupont). 그의개인전이청담동에위치한 MC갤러리에서열린다. 리처드듀퐁은왜곡된 3D그래픽이미지의형태를지닌신체조각상을제작하는것으로유명하다.

그는자신의신체를레이저스캔하여산출된데이터값을바탕으로인물의전신조각상을만든다. 이렇게제작된하나의모델은작가에의해여러형태로왜곡된다. 이렇게에디션으로만들어진전신조각작품들은작가의계산아래전시공간의이곳저곳에설치된다. 그는이러한작품설치방식과전시장연출을통해작품자체뿐만아니라전시공간과작품사이에깊이감을구성한다는호평을받고있기도하다.

리처드듀퐁의작품은 ‘데이터, 수치화된신체’를통해디지털시대를살아가는인간의모습을표현한다. 왜곡된작품이미지에서볼수있듯이, 작가는기술과목적에의해왜곡되어진정한현대인의정체성이굴곡․이완된형상을띠고있거나, 인간이스스로를인지하는것이상의다른모습으로존재할수있다는점을피력한다. 작가스스로는이러한작품을 “반(反)자화상(Anti-Self Portrait)”이라고설명한다. 그의작품은정보화, 디지털화된세상속에서살아가는인간들의정체성에의문을던지면서현실에대한자각과그본질에대한반성을촉구한다.

국내에처음으로소개되는조각가리차드듀퐁. 이번전시에는그의대표적인조각작품뿐만아니라, 드로잉과판화작품도선보인다. 현대인의정체성과인간존재의본질에대한그의진지한사유를살필수있는전시가될것이다.

한편 10월 7일전시오프닝행사에는작가가직접참여한다.

1968년 미국뉴욕출생하여, 현재뉴욕을중심으로활동중이다.

프린스턴대학고고미술학(Art and Archeology) 전공 /
졸업후, 2005년 ‘아트바젤’에서전,
2008년레버하우스(Lever House, 뉴욕)의전,
2009년 ‘아모리쇼’의전,
2011년케롤리나니치프로젝트룸(Carolina Nitsch Project Room, 뉴욕)에서전등 10여회의개인전을개최했다.

그의작품은MoMA, 휘트니미술관, 보스톤미술관, 클리블랜드미술관등세계유명미술관이소장하고있다.