“It’s fascinating to think that all around us there’s an invisible world we can’t even see.”
Otto Berchem’s work explores how we live and how we communicate our lives with one another. This interest in our social codes, and how we negotiate them, has lead to work that is often created in the public space or in the non-art context. Often these works draw attention to overlooked, unnoticed, and unarticulated systems and social behaviors.
For his third solo exhibition with Ellen de Bruijne Projects, Berchem will present several projects, all connected by subtle interventions used to expose what is seen and what is not seen.
These projects include Temporary Person Passing Through, a project that employed a now defunct hieroglyphic symbols used to map the city; You Am I Am You, a project commissioned by ArtAids, where Berchem produced a special collar for Thai street dogs; and Sanctuary, an ongoing project about a young kidnapping victim.
Opening: 17/10/09 17 – 19 hrs
Exhibition: 17/10/09 – 21/11/09
Gallery hours: Tue – Fri 11 – 18 hrs | Sat 13 – 18 hrs |
1st Sun of the month 14 – 17 hrs
Ellen de Bruijne Projects
I could go on and on about how genius this video is, but I won’t.
In short: The Onion has done it again.
Q – What do you get when you have twenty one artists, curators, and critics sitting in a room with thirty two artists?
A – A portfolio day, specifically the Warp-Projects portfolio day, situated in Sint-Niklaas, the center of the Belgian art world.
The first event of the weekend took place on Friday night, with the opening of Wim Wauman’s exhibition Temptation Island at the brand spanking new Koetshuis WARP.
Stef van Bellingen kicks things off at the Koetshuis.
On Saturday the portfolios (or macbooks) were reviewed.
The reviews were scheduled to last for 30 minutes, with a 15 minute buffer if things ran late.
Which was easy to notice when one has such a unique alarm clock.
Hopefully the exchange was fruitful.
If not, there was always cheese.
After all, to misquote Bertolt Brecht: food first, art later.
I was procrastinating, yet again, on youtube this morning, and came across something that caught my attention. It was trailer for a film I hadn’t heard about called Bloodwork – The Anna Mendieta Story. The film, made by Richard Move, mixes interviews (with Carolee Scneeman, B. Ruby Rich, Yvonne Rainer, Jose Esteban Munoz, and Lisa Paul Streitfeld) with super 8 recreations of Mendieta’s performative works.
A few years ago, a friend recommended that I read Robert Katz’s Naked by the Window, which is a ‘crime novel’, about the events that occurred at 300 Mercer Street, on September 8th 1985, which created a fissure within the New York art scene. One side of the New York art world circling wagons around Andre, and another committed to seeing justice pursed on behalf of Mendieta.
While the book is flawed, and is clearly written by someone with a limited knowledge of contemporary art, it’s the most comprehensive account of what happened. What made the book all the more compelling, is the fact that the trial took place during my first few years at art school in New York. In some ways it was my introduction to the art world, sadly enough.
When I looked at Move’s Director’s Notes, I saw that Galerie Lelong, which represents Mendieta’s estate, had no interest in collaborating on the film. I suppose I shouldn’t be too surprised.
A perfect piece, by Lawrence Weiner, for a sad situation. As of May 2nd Galerie Micheline Szwajcer will be no more.
The trend of ironic facial hair has clearly arrived in the Netherlands over the past 12 months. It only took about four years for it to migrate from Williamsburg to the rest of the US, but who’s counting? Seeing as Man Ray pioneered ironic facial hair at least 66 years ago, if not earlier, maybe the Williamsburg hipsters are the ones who were late?
Speaking of Man Ray, and facial hair, if you happen to find yourself in Groningen anytime soon, you can catch a work by me that touches on both. On view at NP3, until the 26th of April.
Unbridled (de Zayas), 2006