25 apr 2010
Conceptinprogress "Sweeping around a Column", 2010
Premiata Officina Trevana 2010
curated by Maurizio Coccia and Matilde Martinetti
May 8 June 27
Centro per l’Arte Contemporanea Palazzo Lucarini, Trevi.
(drawing on the floor)
Robert Barta in "Ceci n‘est pas un Casino"
Press Release
Ceci n‘est pas un Casino
Pierre Ardouvin, Robert Barta, Patrick Bérubé, Marc Bijl, Hermine Bourgadier, Antoinette J. Citizen, Courtney Coombs, Jacob Dahlgren, Paul Kirps, Walter Langelaar, Annika Larsson, Ian Monk, Laurent Perbos, Letizia Romanini, Stéphane Thidet, Olaf Val
1 May – 5 September 2010 / Opening on Friday 30 April 2010 from 7 p.m. to midnight
When referring to Casino Luxembourg – Forum d’art contemporain, perhaps no phrase has been uttered more often than, “This is not a casino!” After all, the name of the centre can fool almost anyone into mistaking the purpose of the building.
The current exhibition sets the tone by adopting this title, further adding to the confusion by exhibiting works that, in fact, evoke the idea of gaming! Indeed, each piece in the show appears to be an invitation to play—whether video console, merry-go-round, playing field, or other games. And yet the reality remains unchanged—no gaming goes on here.
The exhibition therefore reproduces the frustration experienced by visitors who come here thinking they will find games of chance. This theme could have easily resulted in yet another show on the relationship between art and playfulness. But what is underscored here is the double twist and frustration associated with gaming. Art and game-playing—which have
often been compared in recent art criticism—are in fact similar practices: both call for (indeed, embody) a free spirit on one hand, and a precise set of rules on the other hand. Both tend to set up binary oppositions that give rise to meanings, sym- bols and related emotions—like a goal that has either been scored or not scored, once and for all, a status that inherently generates intense, wide-ranging reactions from everyone involved (players, referees, spectators, commentators, TV viewers). This relationship between binary status and analogue reaction is specific to games yet is mirrored in the artistic techniques employed in these works.
A participatory element is also present in this show. The beholder becomes a player, spontaneously drawn into the exhibition with all its subversions and frustrations—visitors may even feel they’re being toyed with. Sixteen artists present their own approaches, chosen according to the rules of this non-casino. Several artists produced site-specific works specially for this show.
Taking ambiguity to its logical limit, the 15th anniversary of the Casino Luxembourg’s transformation into an exhibition venue is, and isn’t, the inspiration behind Ceci n‘est pas un Casino. There is nothing retrospective about this show, and the only historical allusion is the thematic reference. However, the retrospective notion is openly expressed in the catalogue,
which, in addition to an introduction by curators Kevin Muhlen and Jo Kox, features essays on the Casino and its various functions down through history by Marc Jeck, Paul Reiles, and Didier Damiani, not to mention a discussion of playfulness and gaming by a psychiatrist, Dr. Paul Rauchs, and a historical analysis of ludic approaches to art by art historian Bettina Steinbrügge. (ISBN 978-2-919893-83-1)
Curators: Kevin Muhlen, Jo Kox
The exhibition is realised with the support of Menuiserie Lex Weisgerber, Contern.
The project by Jacob Dahlgren is supported by Iaspis.
The project by Patrick Bérubé is realised in collaboration with the Délégation générale du Québec à Bruxelles.
The project by Paul Kirps is supported by Menuiserie Hilger, Manternach.
Ceci n‘est pas un Casino
Pierre Ardouvin, Robert Barta, Patrick Bérubé, Marc Bijl, Hermine Bourgadier, Antoinette J. Citizen, Courtney Coombs, Jacob Dahlgren, Paul Kirps, Walter Langelaar, Annika Larsson, Ian Monk, Laurent Perbos, Letizia Romanini, Stéphane Thidet, Olaf Val
1 May – 5 September 2010 / Opening on Friday 30 April 2010 from 7 p.m. to midnight
When referring to Casino Luxembourg – Forum d’art contemporain, perhaps no phrase has been uttered more often than, “This is not a casino!” After all, the name of the centre can fool almost anyone into mistaking the purpose of the building.
The current exhibition sets the tone by adopting this title, further adding to the confusion by exhibiting works that, in fact, evoke the idea of gaming! Indeed, each piece in the show appears to be an invitation to play—whether video console, merry-go-round, playing field, or other games. And yet the reality remains unchanged—no gaming goes on here.
The exhibition therefore reproduces the frustration experienced by visitors who come here thinking they will find games of chance. This theme could have easily resulted in yet another show on the relationship between art and playfulness. But what is underscored here is the double twist and frustration associated with gaming. Art and game-playing—which have
often been compared in recent art criticism—are in fact similar practices: both call for (indeed, embody) a free spirit on one hand, and a precise set of rules on the other hand. Both tend to set up binary oppositions that give rise to meanings, sym- bols and related emotions—like a goal that has either been scored or not scored, once and for all, a status that inherently generates intense, wide-ranging reactions from everyone involved (players, referees, spectators, commentators, TV viewers). This relationship between binary status and analogue reaction is specific to games yet is mirrored in the artistic techniques employed in these works.
A participatory element is also present in this show. The beholder becomes a player, spontaneously drawn into the exhibition with all its subversions and frustrations—visitors may even feel they’re being toyed with. Sixteen artists present their own approaches, chosen according to the rules of this non-casino. Several artists produced site-specific works specially for this show.
Taking ambiguity to its logical limit, the 15th anniversary of the Casino Luxembourg’s transformation into an exhibition venue is, and isn’t, the inspiration behind Ceci n‘est pas un Casino. There is nothing retrospective about this show, and the only historical allusion is the thematic reference. However, the retrospective notion is openly expressed in the catalogue,
which, in addition to an introduction by curators Kevin Muhlen and Jo Kox, features essays on the Casino and its various functions down through history by Marc Jeck, Paul Reiles, and Didier Damiani, not to mention a discussion of playfulness and gaming by a psychiatrist, Dr. Paul Rauchs, and a historical analysis of ludic approaches to art by art historian Bettina Steinbrügge. (ISBN 978-2-919893-83-1)
Curators: Kevin Muhlen, Jo Kox
The exhibition is realised with the support of Menuiserie Lex Weisgerber, Contern.
The project by Jacob Dahlgren is supported by Iaspis.
The project by Patrick Bérubé is realised in collaboration with the Délégation générale du Québec à Bruxelles.
The project by Paul Kirps is supported by Menuiserie Hilger, Manternach.
16 apr 2010
Andrea Bianconi at Barbara Davis Gallery, Houston (TX)
Andrea Bianconi
A Charmed Life
April 9, 2010 – May 1, 2010
Artist Reception: Friday, April 9, 2010, 6:30 PM – 8:30 PM
Barbara Davis Gallery is pleased to announce the opening exhibition of international artist Andrea Bianconi: A Charmed Life, on Friday, April 9, 2010 from 6:30 PM – 8:30 PM. Fresh from his solo exhibition at Volta New York, Bianconi’s A Charmed Life is an exhibition of new installations, sculptures, and drawings with a performance by the artist at the opening
night reception beginning promptly at 7:30 PM.
The Italian native explores the dichotomy of the public-self and the private-self through new works that draw upon fantasy and folklore. His sculptures, installations, and drawings read as a dream-like journey that blurs the boundary between the conscious and subconscious and time
and space.
In his installation, A Charmed Life, various objects are fastened to hundreds of strings, woolen threads, and wires becoming a waterfall cascading from a single wall-mounted faucet. The delicate objects become divinatory charms that mark the memory of personal experience falling somewhere between materiality and spirituality. It is with this spirituality in mind that the installation becomes the focus of the artist’s performance. Shaman-like, the artist dips his hands into the stream of objects and through a series of sometimes graceful and sometimes forceful movements conducts the flow like an orchestra. Each time an object connects with each other the resulting sound is like the meeting of different realities.
About the artist:
Most recently, Andrea Bianconi had solo exhibitions at Volta New York, at Vernon Projekt in Prague, Casa Gallo, Palazzo Brusarosco Zaccaria in Vicenza, Italy, and at Kiton in New York. Born in Arzigano, Italy, Mr. Bianconi currently lives and works in New York and Milan.
11 apr 2010
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