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TIMELINE 2021

1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020 | 2021 | 2022 | 2023

TAGGED: ►Beneficiary +++ Covid cases +++ Rocco sculpture + Trump's Proud Boys +++ Anarchism on Film +++ Lorelei +++ Music to Wake Up Earth +++ Fearless Provocateur +++ Artist Residency Zurich +++ Darell Black +++ Europian Promise +++ Giverny Suite +++ Elsa's Show +++ Call for Papers +++ Lurie commodified +++ About Art Buying

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Magnus Resch: CLASS ABOUT ART BUYING | New York on Oct 21 | Hi Contact, Art Basel Miami is coming up. So checking in to see if you have seen my message below. Many signed up, the feedback is very positive. And Artsy wrote this great review about it, calling my course an "essential tool for every new collector".

Why? Because my course explains how to invest in art - without having a big budget or an art history degree. I designed it for full-time professionals, concise and to the point. Why don’t you try it: the 20% discount for friends & family is available until 9th December. And if you don't like it, I refund the money. Register NOW for my class about art buying and use the code MAGNUSC20 here
►https://go.magnusclass.com/offer-page-collectors
On Mon, 22nd Nov 2021, Magnus Resch wrote: Hi Contact, I hope you are well and enjoying the fall season! I just came back from getting my COVID booster shot in Soho. New York City feels back to "normal" with a lot of buzz going on.
As you know I have been deeply involved in the art market for years. Many friends ask for my advice on how to start an art collection and how to invest in the right artists - also driven by the enormous success we all have seen over the last 18 month - both in traditional art and NFTs.
That’s why I created an online class. I designed it for my friends: Busy people with not much time who are interested in art and would like to buy art but don’t want to overpay or buy "the wrong" art. And who want to understand what hype around NFTs and Cryptoart is all about. The course is based on my classes at Yale, my Phd and my six bestselling books. I believe it’s the ultimate introduction to the art world. I wish I had something similar when I started 17 years ago.
Take a look at it here. I am convinced that the course will help you start your journey in the art world, fast and efficient. Yours, Magnus
P.s. Before the official launch during Art Basel Miami, I am offering a 20% discount for friends & family. Use the code MAGNUSC20 in the checkout. It’s valid until 30th of November. ►homepage

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Solomon Wycliffe: NO on Oct 21 | Hello, I recently came across the story of Mr. Lurie and was very distressed to find that the art of a man so against the market has now itself become commodified. It sort of spurred me into action. I am a bit of a dabbler in writing, having written a novel and a few books of poetry. I consider my work opposed to the New Colossus that veils itself as the "market" and would love to contribute to NO however I can. I'm attaching a recent collection of pieces to see if it's anything you can use, but I'd love to support your work in any way I can.
Best, Sol

read ►The New TV Adventures of Gargantua & Friends

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Institute for Contemporary Art at TU Graz: CALL FOR PAPERS: INCOMPUTABLE EARTH—DIGITAL TECHNOLOGIES AND THE ANTHROPOCENE | Graz/Austria on Sep 7 | Incomputable Earth—Digital Technologies and the Anthropocene, edited by Antonia Majaca, is the outcome of the long-term research project The Incomputable, developed at IZK and funded by FWF.

CALL FOR PAPERS

© Rafaela Drazic

The forthcoming edited volume published by Bloomsbury stems from an ongoing investigation into the contemporary conditions of our data-driven culture where computation, technology and life on earth have become inextricably intertwined. Incomputable Earth—Digital Technologies and the Anthropocene examines the relation of the ‘human’ (anthropos) to technology and to nature, as computation overhauls both at the scale of the planet. Its working thesis is that if calling the new geological era ‘Anthropocene’ implies that the Earth has been rendered artificial by the impact of humanity, then we need a more specific focus on how we understand this process and this humanity. This would mean looking at how the capitalist engineering of this ‘artificial earth’ has accelerated over the last few decades, and how this happened in parallel with the expansion of digital technological systems. This centrally includes ‘artificial intelligence,' itself a technology of extraction—from the earth minerals to the labor of low-wage information workers.
Thus, the book calls for a radical break with a conception of intelligence and value based on instrumentality and extraction, whether it is data or the earth that is under consideration. Such a call entails a radical epistemic shift based on abolishing the patriarchal gendering of both technology and nature and involves a multifaceted but fundamentally materialist critique of the current theoretical trends such as digital vitalism, and the hegemony of techno-positivist paradigms which echo the centrality of digital systems of economic optimisation and social control. The temporal and spatial scales we are confronting pose new challenges for the critical engagement needed to envision a future. The fact that computational power now has the capacity to make visible the magnitude of the climate breakdown does not make the complex entanglements behind it more thinkable. Rather, in many ways computational modeling actually forecloses our ability to grasp the imbrication of technical systems in the collapse of earth systems.
Investigating how unexpected forms of collective intelligence emerge against the backdrop of the epistemic regime of data positivism, algorithmic classification and prediction, this  project starts from a demand to rethink the specificity of and relations among notions such as intelligence, technology, planetarity and general intellect, while considering what unique cognitive and political capacities we might need in order to grapple with the link between the breakdown of earth systems and the proliferation of planetary-scale digital technologies. The humanities currently lack common vocabularies for addressing the predicament of terrestrial life in the age of planetary computation. This book sets out to create a repository of building blocks—critical theory essays and art-based research—as tools to invigorate a thinking of earthly totality beyond the go-to technocratic paradigms which dominate debate on both computation and climate breakdown.

The volume is primarily geared towards the cultural, artistic and academic community and as such it also seeks to present current scholarly and artistic practices dealing with the entanglements of these two ‘hyperobjects.’ We wish to host academic essays as well as artistic visual contributions, colliding the already established, if widely contested, category of the ‘Anthropocene’ in the humanities with the emergent paradigm of ‘planetarity’ taking shape both in critical theory and the techno-scientific registers as the computational core of the ‘humanification’ of the earth

Possible topics may include, but are not limited to:
Digital technologies and environmental racism
Intersections of data positivism and white supremacy in the digital realm
New forms of nationalist environmentalism, neo-Malthusianism and eco-fascism
Data positivism and the matrix of coloniality
New solidarities on a broken plane
Digital capitalism and ecological futures
‘Futurism’ for broken naturecultural worlds
Indigenous data justice movements

Deadline for Abstracts (250 words): October 1, 2021; Send abstracts as a Word file to antonia.majaca@gmail.com and lola.pfeiffer@posteo.de.
Deadline for Chapters (6000-8000 words): December 15, 2021
Bloomsbury Academic Series: Theory in the New Humanities
Editor: Antonia Majaca; Series editor: Rosi Braidotti

The publication will follow Open Access principles freely available with a Creative Commons 4.0 International License.
Copyright © 2015 IZK Institute for Contemporary Art, All rights reserved.

Our mailing address is: IZK Institute for Contemporary Art | Kronesgasse 5/II | Graz 8010/Austria

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Museum of Modern Art: JA'TOVIA GARY: THE GIVERNY SUITE | Frankfurt/Main on Aug 8 | The exhibition Ja'Tovia Gary: The Giverny Suite is on view until Sunday, 8 August 2021 at ZOLLAMT-MMK.

JA'TOVIA GARY: THE GIVERNY SUITE

Ja'Tovia Gary, The Giverny Suite, 2019, film still, © Ja'Tovia Gary,
courtesy of Paula Cooper Gallery, New York and Galerie Frank Elbaz, Paris

“The Giverny Suite considers the tension between being seen and unseen, exploring the way these seemingly contradictory conditions coincide. It meditates on how, for Black women, being perceived exclusively in terms of dominant forms of visuality can be equivalent to not being seen at all. These exclusionary regimes of seeing are the enclosure that Gary is working against in her installation. She seeks to generate a different register, one that can hold the multiplicities of Black women. This register is that of Black women’s interiority, a limitless realm that is not bound to external enclosures.” —Yasmina Price
The exhibition is taking place within the framework of the photography Triennial RAY 2021.
Domstr. 10 | 60311 Frankfurt am Main ►more

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Clayton Patterson: ELSA'S SHOW | New York on May 11 | Here is a press release for Elsa's show. thanks

THE LOCATION OF SERENITY:
►Elsa Rensaa, Viktor Timofeev, Yasue Maetake, Eddie Natal
Curator: ►Gryphon Rue
►DRONE | 1 Hudson | New York NY 1003 | May 7 - July 15, 2021 |
Regular hours by appointment Thursday-Saturday, 2-6 PM
Please email us at mail@drone1hudson to schedule your visit

Elsa Rensaa: Mona Lisa and L’inconnue de La Seine, 1980-1981, detail [oil on wood]
“For beauty is nothing but the beginning of terror [...] because it serenely disdains to destroy us.” Rilke
“When our time ends on its rictus smile, we’ll pass the lure of fortune.” Dune

D R O N E is pleased to present its inaugural exhibition, The Location of Serenity, exploring the surreal and sardonic climate of death and immanent regrowth. Bringing together four New York-based artists, The Location of Serenity draws from recent memory to propose spiritual enrichment and mystery as tonics to pervasive loss. Death, the plague, disruptions of systems are in our face, permeating our lives, saturating the periphery. And yet, interior states of serenity bear external signs – a smile, a gesture, a vibe eluding the quantified actualities of the external world.

Various questions drift in the air: must a location be a physical place? Can serenity bear internal contradiction? Does ambivalence disrupt serenity’s location?

How do I find this Location of Serenity?

In the 1970’s–1990’s Elsa Rensaa produced a small body of icon paintings, portals summoning a luscious brilliancy through a meticulous process of thin acrylic washes. Rensaa’s paintings are a catholic mix of symbols, syncretic visions derived from Ancient Nordic, Egyptian, Eastern, and Lower East Side iconography, channeled through an evident veneration for Renaissance painters, evoking the fabrics of Pontormo and the portraiture of Bronzino. Friends are wryly portrayed in historical garb, such as Untitled (Clayton and Gunner, ca. 1990’s) where her husband stands regally with the couple’s dog.
Rensaa’s largest painting Untitled (Mona Lisa and L’inconnue de La Seine, 1980-1981) depicts Mona Lisa peering from the billowing wimple of a young woman resembling L’inconnue de La Seine, the death-mask putatively cast from the face of a woman who drowned in the Seine in the late-1800’s. Vladimir Nabokov, Rainer Maria Rilke, Albert Camus, Anaïs Nin, Man Ray and others were bewitched by the woman’s expression – mordant amusement at the expense of the living? deep satisfaction? At some point in the 1970’s, Rensaa compared the smiles of Mona Lisa and L’inconnue de La Seine speculatively with the risus sardonicus or rictus grin, a muscular disorder caused by poisoning which appears to produce grinning. Perhaps here we can locate a dark, unstable idea of serenity. ►more

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Jochen Gerz: SQUARE OF THE EUROPEAN PROMISE | Derryquin, Tahilla Sneem, Killarney Co. Kerry, V93 H7W7, Ireland on May 9, 2021 | Dear Europeans, you who gave your names to the square where we stand today, the Square of the Promise of Europe.

Photo: Heinz Dach, Bochum 2008

Years ago we stood right here, when this place did not yet exist, and we took a picture of ourselves. We were many and we were waving, it was a good-humored greeting, a happy "thank you".
Now here again we stand, together in thought. More is not possible at the moment. It's not easy for Europe. Corona makes difficult what defines us in Europe: that we come together and show our faces. That we share joy, share sorrow, share responsibility. Can we celebrate Europe Day this year?
The past months have been sobering. It is as if we have woken from a dream in which there was freedom of movement and open borders, solidarity and equal rights for all. Some things went wrong. Some things went well. The impression that we have lost solidarity is not true.
After all, would things have been better without Europe? Would we ever have been able to win a vaccine in Europe without Europe? In Mainz people from more than 60 nations were involved in the development of the European vaccine. Europe is not a dream.
We have long been Europeans. This is the reality that the Square of the European Promise paints before our eyes: It is neither streamed nor zoomed, it is made of stone. The stone is inscribed with your names and ours. It is good to read your names. To remember the present in which we are in Europe. ►related

Glückauf, Europe.
We greet you warmly
Thomas Eiskirch [City Bochum] + ►Jochen Gerz [artist]
Gerald Hagmann [Christian Church Bochum

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Andreas Heusser: ARTIST RESIDENCY ZURICH | Zurich on Apr 7 | The Artist Residency "Freiraum" provides rent-free living in a recently renovated and furnished attic room (ca. 19m2, with a separate kitchen and a magnificent rooftop terrace for shared use) in the heart of Zurich, as well as the opportunity to network and discuss projects and ideas with the artists of the authors' collective index. If desired, our collective will also help organize a public event (e.g. exhibition, concert, panel discussion). Since 2010, more than 50 artists from all over the world have profited from the program.

The Residency is open to artists of various disciplines and experience. However, priority for the space will be given to artists from abroad who have had little or no support from other sponsors. The Residency lasts over the course of 8 weeks. Please note that guest artists are expected to bear the costs of travel and day-to-day living during their residency themselves. The Application deadline for a residency from June 2021 to June 2022 is 30 April 2021. The residency is made possible by the kind support of the C. and A. Kupper Foundation.

►More infos and application process:
►www.wortundwirkung.ch/freiraum

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Darell Black: ARTWORK AND BIO SUBMISSION | Frankfurt/Main on Mar 7 | Darrell Urban Black, is an American visual artist presently living in Frankfurt, Germany. He works in a variety of formats that include Pen and Ink drawings acrylic paintings on canvas wood and Mixed media objects. His creative process is a mixture of works on paper, acrylic paint, found objects and non toxic hot glue which creates a three-dimensional effect on any surface that gives a sense of realism and presence in his artwork. Darrell, refers to this optical artistic illusion as “Definism” in his opinion, ``Definism, portrays various differences in human nature from life’s everyday dramas to humankind’s quest to under-standing self. “My artworks transport viewers from the doldrums of their daily reality to a visual interpretation of another reality.”

Social Misfits, acryl, 30 x 30"

Darrell Urban Black born in Brooklyn, New York, grew up in Far Rockaway and Brentwood Long Island New York. In high school, he excelled in science with an affinity for outer space. In June 1969, as America fulfilled J. F. Kennedy’s dream to put the American Stars and Stripes into the dusty surface of the moon Darrell’s fascination with spaceships grew. As a child he made spaceship models eventually placing his artistic visions on paper resulting in some 500 drawings. Phantasmal spaceships that eventually carried Darrell to a unique wonderland of strange forms and colors.

In 1982, he joined the National Guard. During this time his previous drawings were lost – but not his passion. In 1988, Darrell, joined the US Army and served another four years. Earned his Bachelor Degree in Science of Criminal Justice Administration at the University of Phoenix. In April 2001, Darrell, was nominated by the German government as a “candidate of the year’s prize for promising young artists” for his artwork titled “The Invasion” in the exhibition “The Zeppelin in Art, Design, and Advertisement,” shown between May and July 30, 2000, in the Frankfurt International Airport. Another piece referenced in the nomination letter, was titled “The Cosmic Shroud,” executed with a unique glue and acrylic on linen technique. The image was described as “universally appealing and representing a topic which concerns all of us – The Universe.” Darrell, had many local, national and international group art exhibitions. He has artwork permanently displayed in a number of art Galleries, Museums and other Institutions Worldwide. Darrell’s artwork has also been displayed on billboard in New York’s Times Square for the exhibition titled: “SeeMe Takes over Times Square 2014”

Darrell lives in Frankfurt, Germany and continues to draw and paint in pursuit of his artistic dreams. He’s a member of the Veteran Artist Program abroad (EuroVAP). ►more

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Clayton Patterson: THE FEARLESS PROVOCATEUR | New York on Mar 3 | The fearless provocateur. The freedom fighter.  The permission granted.  The G-d sent saint. No matter he breaks all the rules of Chiristianity - or of a civilized society - who cares?  He is the rich leader... and on and on.... 
I hope, by now, people are over all this ridiculous trump hate.  Hating is not thinking. It is just throwing rocks.
I will not go into it now, but basically, for me he has been fascinating.  He showed me so many different parts of human behavior.
I guess, for right now, the scariest one is he has allowed, given permission if you like, for all the people to be who they really are. To let their demons out of the closet.  The hate, the racism, the prejudice.  He has the accolades, the illusions that Americans love - the beautiful wife, the Hollywood type fame, Miss America, successful TV show, and looks of rich rich rich.
Now they can be Proud Boys, KKK, or whatever.  If you look at the Florida crowd he attracts, these are not just the rednecks, the working-class, this is the professionals, the suit wearers, the money people, the people sitting in comfortable chairs listening to their leader.

What is political art?  How is ►Gertude different from ►Trump?

►more

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Frederica de Ruvo: MUSIC TO WAKE UP EARTH | Saint-Étienne/France on Feb 20 | Good evening everyone, I don't know if this is a stupid idea... but I wish March 20th of music was played in my garden and others.. just in case... to wake up earth and give it strength and affection. Celebrating the awakening of nature... Would there be musicians who want to walk around the working garden, sing and play? Who will want to come? Trade or classical music... ancestral music.... etc ►more

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Anthology Film Archives: ANARCHISM ON FILM | New York on Feb 10 | Online film series includes several films streaming for free! Series ends Tues, Feb 16th.

This fall brought the publication of a brand-new, expanded edition of Richard Porton’s Film and the Anarchist Imagination, a pioneering study whose first edition appeared in 1999. Anthology organized a film series inspired by the book (and co-curated by Porton) in 2011, and we’re pleased to celebrate this important work once again on the occasion of its reappearance.
The films selected to accompany the launch of the expanded second edition of Film and the Anarchist Imagination are preoccupied with pivotal historical events from the 19th and 20th centuries, as well as utopian moments from the recent past. They all fuse innovative aesthetic approaches with efforts to represent key anti-authoritarian struggles. ►more

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Markela Panegyres: NO!art | Sydney/Australia on Jan 28 | Hel. I'm an artist from Australia, interested in joining your movement. Can you tell me a little more about your project?
in solidarity Markela Panegyres | Visual artist and theorist

Markela Panegyres: Lorelei. video installation still, 2013

PLOT: Markela Panegyres has created an enigmatic persona called Lorelei. This persona is embodied in a series of performance-video works. Lorelei’s dress and mannerisms evoke the archetype of the femme fatale and the Lorelei of German mythology. As such, Panegyres uses this persona to explore the themes of anxiety and violence in relation to femininity and sexuality. Installed as a split-screen video installation, Lorelei presents two opposing versions of this persona. One is accusatory and neurotic; the other is quiet and vulnerable. The work involves a range of repeated gestures and distorted speech fragments that vary in intensity from the intimate to the histrionic. Viewers are invited to experience the friction as these two ‘selves’ face-off. Markela Panegyres’ practice is primarily based in performance-video but also extends to live performance and other media. Markela is currently a PhD candidate at the Sydney College of Arts.

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Clayton Patterson: AMAZING PROUD BOYS | New York on Jan 20 | Amazing. The Proud Boys finally woke up to the point trump had lied to them. trump had used them. Sucked them in. Some will likely go to jail for a long time and no pardons. trump has always ripped-off the people who worked for him.. He used the Roy Cohen strategy: let them sue you or take them to court. Money trumps the law. People he has stiffed is a very long list: the architects, the gardeners, the devlopers, the laborers, now even his best pal lawyer Giuliani, generals and on and on. Stupidity can come at a high price. All the damage they caused and now many will pay the price and trump will be hanging by the pool in Florida. ►more

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David Weimert: ART SCULPTURE | Mail on Jan 7 | Hello, I attached some images of na art sculpture. I am trying to find out who made this beautiful piece and possibly a value. Any help with this would be much appreciated. - Thank you, David Weimert

THE MANY FACES OF MAN

Who knows more about this sculpture? Please contact us ►here

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Walden Gallery: N: th Wave / Antti Pussinen | Berlin on Jan 5 | January 14th to February 14th 2020 — In the year 2020 we are following a long awaited natural disaster in slow motion, but its scope has surprised everyone. Social life grows ever smaller and hanging around at home is reflected in the overconsumption of the news. How many new covid cases?

The invisible risk to catch the disease is made visible by colours glowing bright in the ultraviolet light as door handles, handrails and buttons all seem lethal. In the post-Christmas time window display of the pandemic era, each new day brings new infection spread maps, and by evening one ponders if tomorrow will be any different. By it you can stop and be amazed by your own minusculity and try to understand that in order to help more you need to do less. The Walden Kunstaustellungen exhibition has specifically been designed to be pandemic compatible, that is, viewable only from outside.

The installation shown in Walden Kunstaustellungen is at the second phase of its life. It was first shown in December 2020 in Helsinki Finland, where it was recommended by the biggest newspaper in Finland, Helsingin Sanomat. After Neukölln, Berlin, it goes back to Helsinki to be shown in the annual LUX Helsinki exhibition, that draws audience of half a million or more to enjoy light art and contemporary art involving light, at the darkest time of the year.

Artist Antti Pussinen works in Berlin. In past few years he has in his art dealt with feeling minuscule in the face of forces of nature and the universe. His works have been exhibited in Kiasma, the Art Museums of Tampere, Jyväskylä, Kuopio, Hyvinkää and Kouvola, Gallery Sculptor, Helsinki, Freies Museum Berlin, Luisa Catucci Gallery in Berlin as well as Center for Architecture in New York. ►more

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John F. Kennedy Resident Agency: FINAL PAYMENT (ACT FAST)! | Mail on Jan 3 | Attention: Beneficiary! We, office of the International Police Authority JFK Resident Agency hereby write to inform you that we stopped a courier personnel by the name Mrs. Agnes Cole here at (John F. Kennedy International Airport) New York with a consignment box filled with cash valued at US$14,674,000:00 (Fourteen Million,Six Hundred and Seventy Four Thousand United States Dollars). In the course of our interrogation and investigation on the courier personal she said that the consignment box belongs to you and that she was sent by a Mike Mc Linegan to come deliver the consignment box to you not knowing that the content of the box is money.

Now, this courier lady is under detention and custody of the office of (INTERPOL) security here in JFK airport N.Y, and we cannot release her until we carry out our proper investigation on how this huge amount of money managed to be yours. So, in this regards you are to reassure and prove to us that the money you are about to receive is legal by sending us the Ownership Clearance Certificate showing that the money is not illegal. Note, that the Ownership Clearance Certificate must to be secured from the office of the United state of Ameirca ministry of finance, because that is the only office that will issue you the original Ownership Clearance Certificate of this funds, this is because the fund originated from the United State of America.

You are advised to forward immediately the Ownership Clearance Certificate if you have it with you, but if you do not have it, we urge you to contact back the sender of Agnes Cole to help you secure the Award Ownership Certificate if at all you do not have it. Below is the contact information of the person that sent Mrs. Agnes Cole as provided by her;
Name: Mr Mike Mc Linegan

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