#otherways

[brbgensokyo]

its been nearly 24 hours an im still laughing about that CR candelabra obscura shit. Like, "This world has no bigotry but the cops are racist" is like funny on its own but the fucking scar system is so fucking bad

[eric-sadahire]

"Meow" and other ways cats say "Fuck You"

[ghostthetastemaker]

Nona The Band - “OTHERWAYS”

[rob-the-ranger-blog]

No electric fan ran by heat energy! #alternateenergy #always #otherways

[mai-yonese]

stay away from what is keeping you away from your way.

[de-tour-blog]

Multiple Choices | Karst

MULTIPLE CHOICES Karst Projects Aug 23 – Sept 23, 2012 ARTISTS Ricardo Basbaum, Ane Hjort Guttu, Katya Sander, Miho Shimizu, Øyvind Renberg, Alex Villar ABOUT THE EXHIBITION Multiple Choices is a collective initiative started by three artists who live in different places from one another. Each of the members is also based away from their place of origin: Oyvind Renberg, born in Norway, is currently living in Germany; Alex Villar, born in Brazil, lives in the United States; only Miho Shimizu, who was born in Japan and had been living in Scandinavia, is now back in Japan. The experience of difference that comes with contextual displacement is therefore very present in their lives. Although the three artists met in the early 2000s and soon started to work on a few projects, they only conceived of Multiple Choices as a productive process for working together in 2008. Their first project as a group was an exhibition on that same year for Oslo Kunstforening. That project led to plans for a book that would expand on the initial group of artists. They invited Judith Schwarzbart to be their editor and commissioned texts from writers working in Europe and the Americas: Simon Sheikh, Gloria Ferreira and Eva Diaz. For the exhibition at Karst-Projects, the configuration includes the core group of artists plus Ane Hjort Guttu who is based in Norway, Katya Sander who lives between Denmark and Germany, as well as Ricardo Basbaum who lives in Brazil. In keeping with the heterogeneous preferences of the group, which is conveyed by the name Multiple Choices, the exhibition at Karst brings together work that are both thematically and morphologically distinct. What the works have in common, and what makes sense of the exhibition as a singular collection, is the fact that these works share a focus on already constituted relational situations. A relational situation is here understood as that which permeates the social sphere; that is, relations among people but also between people and the things and spaces that surround them. These works’ probing of relationality is less about the creation of situations for the audience to play within and more about an inquiry into, and sometimes disruption of, those relations that already occur in the world at large. The exemplar piece in the exhibition, the work that most directly addresses the question of relationality, is Ricardo Basbaum's project "Would you like to participate in an artistic experiment?" This work instantiates new relations through the insertion of similarly shaped objects into differentiated contexts. He treats the art object as itself a kind of readymade by inserting it into everyday situations, an operation that essentially multiplies its use value while neutralizing its exchange value. Value itself, or rather surplus value, as extracted by capital from our commonwealth, is the subject of Anne Hjort Guttu's piece. Her project evidentiates how real estate appropriates our natural relation to sunlight by turning it into signifier of privilege. Katya Sander, on the other hand, manipulates a signifier that is more properly linguistic. Her Tifo piece takes a clue from an existing soccer fan situation that she works to transform through a subtle linguistic shift, therefore placing new content into an established form. In the process, she interrupts the continuity in the relation of support between fans and their sport and open up the possibility for reflection upon a larger condition. Alex Villar's work also seeks to shift already constituted relations, particularly class relations as these effectively segregate access to opportunity. His piece makes use of mobile scaffolding to orchestrate a series of breakings into various buildings. In these performative deviations from the norm, the actions in his video produce a gradual departure from the established order. Existing relational situations, as seen from the standpoint of the work in the exhibition, may sometimes provide the very conditions of possibility for the artwork to come into being. This is the case in Miho Shimizu & Oyvind Reberg's work process as they usually begin by sampling a variety of cultural elements from a site, which they collage into a complex portrait of an experience. The result is not a representation of an existing relation but rather the creation of new artistic possibilities through a continuous process of recombination. That's why their project for the exhibiton presents not one but several pieces; they demonstrate the generative character of their process. ABOUT THE BOOK Accompanying the exhibition is the Multiple Choices book, whose production has just been concluded and which is being launched on the same occasion. Although there are a number of recurrences between book and exhibition, the content of the former is not symmetrical with the latter. In other words, the book does not catalogue the exhibition. It shares its focus on relationality since this remains the concern of many of those present in the book but it also seeks to understand the active processes at play in the spheres that contain those practices. This is more clearly the case with the contributions of the writers. Gloria Ferreira for example utilizes the Derridean notion of Hospitality to demonstrate that there is a different logic at work in the organization of the collective artistic assemblage as well as in the relation between art practice and those intersected by the artistic gesture. Eva Diaz sought in the closing gap between artistic intervention and the social terrain of its deployment a more radical democratic sphere, an agonistic sphere as defined by Chantal Mouffe, a theorist Diaz engages in her text. Simon Sheikh's tackles the very notion of a public sphere in a critical treatment of the work of Habermas. While building upon a concept by Cornelius Castoriadis, Sheikh posits a counter-hegemonic imagining of the social sphere.

KARST Carl Slater, Director Glen Johnston, Studios Manager Donna Howard, Project Coordinator 22 George Place Stonehouse Plymouth, UK www.karst-projects.org [email protected] Gallery Tel: [phone] SUPPORT Multiple Choices is supported by Arts Council England, OCA (Office of Contemporary Art Norway), Danish Arts Council, Plymouth Arts Centre, The Great Britain Sasakawa Foundation, Fritt Ord, Norwegan Arts Council.

[perfecial]

OTHER WAYS TO GET IN TOUCH WITH ME.

FACEBOOK.

http://www.facebook.com/florence.zurfluh

TWITTER.

https://twitter.com/#!/diorstrawberry

INSTAGRAM.

my username is "floju" message me yours and I'll follow back ;)

(I'll also follow you back on twitter if you message me that you're from here ;) <3)

[de-tour-blog]

Alex Villar | Hansberg/Woolf

ALEX VILLAR Hansberg/Woolf Directors: Emma Flynn and Leigh Hazzard Exhibition 24 June - 15 July, 2011 Artist Talk 24 June, 5.30pm We are pleased to announce that New York-based artist Alex Villar will inaugurate the Gallery’s exhibition programme in June 2011 with the first solo presentation of his work in the UK. Drawing on important video works made over the past 10 years, this exhibition surveys the artist’s long-running investigation and articulation of potential spaces of dissent in the urban landscape. Employing video-based, performative actions, installation and photography, Villar’s practice concentrates on matters of social space, often positioning the performer in situations where the architectural and urbanistic codes that regulate our everyday spatial and social experience can be made explicit. Villar’s work draws from multidisciplinary theoretical sources including the works of Foucault and de Certeau, and is foregrounded by aesthetic traditions ranging from the sixties and seventies performative-based sculpture and installations by Helio Oiticica, Lygia Clark and Cildo Meirelles to the urban strategies of the Situationists and the anarchitecture of Gordon Matta-Clark. Born in Brazil (1962), MFA from Hunter College (1998) and Whitney ISP Fellow (2000), VLA Art & Law Fellow (2011). Selected exhibitions include the New Museum, Mass MoCA, Drawing Center, The Menil Collection, Exit Art, Art in General, Apexart and Dorsky Gallery in the U.S.; Museum London in Canada; Institute of International Visual Arts and the Whitworth Art Gallery in England, Museu de Arte Moderna, Paço Imperial and Funarte in Brazil; Museu da Cidade in Portugal; Galleri Tommy Lund and Overgaden in Denmark, UKS and Oslo Kunstforening in Norway; Contemporary Art Centre in Lithuania; the Goteborg Konstmuseum, Rumänska kulturinstitutet and Signal in Sweden; Galeria Arsenal in Poland; Beirut Art Center in Lebanon; the Breeder in Greece; New Plymouth in New Zealand; Zendai Moma in China; Marco Museum in Spain; Kölnischer Kunstverein, Lichthaus, Halle fur Kunst and Internationale Kurzfilmtage in Germany. HANSBERG/WOOLF 49 Cochrane Street, Glasgow, G1 1HL Tel [phone] www.hansbergandwoolf.com Tuesday - Saturday, 11am - 6pm Office [email protected] Press [email protected]