Paintings by Omar Chkhaidze are in Russian and Georgian museums and some his masterpieces are in Vatican’s collections. On this exhibition artist will show new collection of paintings, which were created in new abstract style. Also master shows his old paintings from his Symbolism collection.

"...Our world has strongly changed during last years. And my attitude has strongly changed too. I have expressed my new feelings in my new paintings. I need to know that spectators will tell about it" - spoke artist in his last interview.

Some art critics classify Omar Chkhaidze's creative manner as symbolism or associative-metaphorical style, others specify his style as classical avant-gardism. But all agree that the master has created the individual unique style, and the unique painting technique. The artist's works represent the new word in painting, the art of the new era, the art of the Future. Omar Chkhaidze is a master whose world outlook has absorbed the wisdom of the East and the West. His works do not confine themselves to time and space frameworks - they have a really cosmic scale. The artist is positive that it is Love that lies in the foundation of the Universe. Only Love can create things, only by means of Love and in the name of Love one can do wonders. This idea goes through all the works of the maestro. The refined feel have the line and spatial depth, together with absolute pictorial freedom, help reflect both the inner and external beauty of the world. Harmonic combination of intellectual potential and high spirituality level offers Omar Chkhaidze a unique opportunity to pass through himself everything initiated from above, and expresses this in his paintings. His every work, like a drop of water, reflects the Universe.Omar Chkhaidze is a mouthpiece of the new spiritual paradigm of the third millennium. Having discovered for yourself the world of this amazing artist you will be able to sense the joy of life filled with Love and Harmony, to touch the Eternity.

New Spiritual Paradigm
The New Spiritual Paradigm. The coming of every new era requires its spiritual mouthpieces. Today, on the brink of two millenniums, witnessing the transition from the Age of Pisces to the Age of Aquarius, the Earth planet is being influenced by the new energy giving a tremendous impact towards the change of human consciousness, the change of scientific and spiritual paradigms. Fulfilling their predestination, the spiritual leaders of the planet - writers, composers, artists - persons deriving information from above, are carrying it to the people by means of their works of art. That is the way it has always been. Among such channels were Leonardo da Vinci, Johann Sebastian Bach, Johann Wolfgang Goethe and others. Today Omar Chkaidze is such a channel. After the year of 2000 Omar's painting manner and style critically changed. He is breaking away from his attachment to the object, shape, which helps him to freely carry the vision of the Universe's spiritual world. He has always said: "The time will come and I will have my word". And this time has come. His paintings may seem to somebody as some meaningless strokes of the paintbrush on a bright background. While for the dedicated - these are the letters from Home, full of sacred sense, carrying on recovery, enlightenment and love.

Bio of artist Omar Chkhaidze
Omar Chkhaidze was born on January 1st, 1945 in Georgia. He graduated from the Arts School in 1966, then from the Academy of Arts in Tbilisi in 1973. As a student, Omar participated in numerous art exhibitions held in Georgia and Russia. Later he participated in international shows. In Russia his creative activity is marked as the Distinguished Artist. Omar Chkhaidze is a member of the Union of Artists of the USSR, the Union of Artists of Georgia, the International Federation of Artists UNESCO, the National Artists' Union of Russia. He is the winner of several international shows held in 1999-2002. The artist has his personal catalogue "100 Paintings by Omar Chkhaidze". His paintings are also in the catalogue "The Best Artists of Russia of the Millennium's Boundary". The artist runs his own picture gallery in Moscow, Russia, located in the Central Artists House.

Welcome to this exhibition!
Great musical opening will run from 7-8pm with the cocktail reception from 8-10pm. It will be November, 1.

Address of gallery
New York, Icosahedron Gallery. Manhattan, 27 North Moore St.
tel. (212) 966-3897

Gallery opens
Wednesday & Friday: 2pm-7pm
Thursday, Saturday & Sunday: 12pm-5pm

Request email invitation now!
www.icosahedron.com
www.gallery-omarchkhaidze.com
gallery@Gallery-OmarChkhaidze.com

Organized by the Centre international d’art contemporain de Montréal, the 5th edition of the Biennale de Montréal will be curated around the axis of a focused survey of contemporary Canadian art and presentations by established and emerging international artists. Under the curatorship of Wayne Baerwaldt, this Biennale will induce the unexpected in new and recent art and will present artworks in the public spaces as well as original and important exhibitions in new venues to discover. Guided tours, workshops, lectures. Different venues in Montréal.

A new exhibition, MORE INVISIBLE WOMEN, reveals the hidden and silent existence of more women in the developing world, in particular in India and Nepal. In collaboration with AIDOS, Italian association for women in developing countries, the photographer Sheila McKinnon develops and enlarges the project initiated a year ago with INVISIBLE WOMEN.

Her camera captures the dignity of all those tireless, capable women who play such an essential role in humanity's long journey. The images portray moments of everyday existence, of women doing tasks that are so essential as to be taken for granted, so discreet as to be invisible.

"INVISIBLE WOMEN, the poorest of the poor. Yet they are the ones who sustain the developing world. They are the ones who produce, store and prepare the food in rural areas.
They are the ones who fetch water and firewood, and who often see to the building of dwellings. In cities, they perform the most menial tasks, those that no man wants to do.
They are the ones who take care of the young and the elderly; the health and the education of future generations are in their hands. In times of crisis or war they are the only ones who keep the subsistence economy alive.
In developing countries, the job of satisfying basic day-to-day needs falls to the women, but they are excluded from education and they have no power, not even over their own bodies.
Women do two thirds of the work in the world but earn only 5 % of world revenue. If we truly want to break the vicious cycle of misery, and establish conditions in which future generations can be healthy and productive, women are the key factor. And they must not become merely visible: they must be allowed to speak."
Daniela Colombo, President of Aidos
Italian association for women in developing countries
www.aidos.it

Sheila McKinnon was born in Canada and has spent most of her life in Italy. She has worked as a photographer and journalist for various European and North American publications such as The New York Times, Newsweek, The International Herald Tribune, Die Welt, Beaux Arts Magazine and most of the major Italian publications. She has visited many developing countries working in collaboration with various humanitarian organizations such as UNICEF, the FAO, AIDOS, Sant'Egidio, Africare and others.

The exhibition will remain open until October 10 during the following hours:
Monday: 16:00 - 19:30
Tuesday through Saturday: 10:00 - 13:00 + 16:00 - 19:30
Sunday: 16:00 - 19:00
(closed on Saturday September 22)

Information:
Sheila McKinnon
www.sheilamckinnon.com
sheilamckinnon@tiscali.it
tel: 06 320 7923
cell: 338 6316 044

AIDOS
www.aidos.it
aidos@aidos.it
tel. 06 6873214 / 196
fax 06 6872549

The term “Mousetrap” in this context is being used in conjunction with Rube Goldberg’s machine project, which influenced the imagination of many, starting from artists and ending with computer game creators. The very idea of big and funny machinery that accomplishes little appears to be a good metaphor for the ambivalence with which the art institution is being seen today.

The entrapment of the artists or the curator, and sometimes even the artwork, in the context of a complicated and structured institutional engine is more than a shared conviction. It is a commonplace. But there is a treat inside the trap that makes it also alluring and attractive. The questions we are asking concern the position of the curator working within the institutional structure and outside it. How can one overcome the obstacles of institutionalization? Are there any subversive strategies that allow the independent curator to collaborate with such a structure? What about an independent becoming a part or even the head of an institution? How can the artists circumnavigate the boundaries of an institutional framework? And what about new concepts and examples of institutions, anti-institutions or quasi-institutions?

There is a good portion of new and innovative projects or older institutions getting a refreshed image in the reaction to the collapsing institutional décor. Regardless of that, the availability of funding for spectacular institutional projects puts art professionals into the game between fulfilling public expectations and realizing individualistic ideas. Focusing on this cultural phenomenon, “The Mousetrap” brings together curators working within and outside these structures, as well as art theorists and historians. Many of them share their expertise between the fields of theory and practice. The intention of the conference is to give an insight into today’s reflections and practices in encounters with institutions.

English proof-reading: Tadeusz Z.Wolanski

Graphic Design: Adam Chylinski

Cover illustration: Grzegorz Klaman, I hate this system, 2005, the project for Mousetrap Conference.

Lining illustration: Twozywo

Printing: Grafix Centrum Poligrafii

Publishers:
Wyspa Institute of Art/Wyspa Progress Foundation
www.wyspa.art.pl

Revolver, Archiv fur aktuelle Kunst Bethmannstrasse 13
www.revolver-books.de

Collaboration and financial support: Buero Kopernicus

ISBN: 978-83-924665-1-2
Price 15 Euro plus shipment costs. Please send your purchase inquiries to Roma Piotrowska roma.piotrowska@wyspa.art.pl

Carolyn Stockbridge chosen as Ell Art Exchange’s artist of the month for July and August 2007.

Stockbridge is a contemporary painter who resides in Vancouver and is in love with nature. Through her paintings she reveals her conflict of what nature is truly like in urban life. Stockbridges says, “Living in an urban centre, I am constantly reminded of a desire to be in nature. Realizing that nature is something we create within ourselves and within our city limits (and outside of them with park lands and resorts etc.) allows me to find a sense of harmony and relief with my daily routine and activities. I cannot say that I am fed only by the immediacy of the world around, it is difficult to say; history must be a huge part of it, holding as much relevance and influence as my environment. It is, without question though, that I am encouraged to comment about the human experience within the urban centre, the city in a constant state of flux and the struggle between city and nature.”

Stockbridge has exhibited in New York, Los Angeles and Vancouver.

To learn more about Carolyn Stockbridge and to see her new works, please go to ellartist of the month at www.ellartexchange.com.

The Il Frantoio Gallery opens Giusy Lauriola’s solo exhibition on Saturday July 21st, The exhibition is called G.O.D. - Glance or Obscurity Determination – and is curated by Gianluca Marziani.

An international preview of the exhibition will take place at Monte-Carlo’s World’s Artists Artemisia Art Gallery on June 26th. Then, following Capalbio, it will continue from September 1st to September 15th in the Swabian Castle of Manfredonia, in the region of Apulia.

The artistic project draws inspiration from the highest of human needs: the thought of what exists “Beyond”. Giusy Lauriola maintains an ideal continuity with her artistic research, particularly after the work she carried out during the Iraq war period - “Cambialamore” (“changelove”), where she reported other people’s pain and indifference through a 30-meter long complex project. Today, she seems ready to placate the feeling of impotence, and move to a field where the thought of a plausible “Beyond” can save us from desperation. If British artist Damien Hirst investigates into the concept of death by showing a dead shark in a tank of formaldehyde, why not look for additional answers to the concept of death, maybe drawing our inspiration from a possible inherent world? If Thomas De Quincey - an English novelist from the 19th century - used to write after drinking laudanum - maybe to feel closer to all his dead beloved ones - why not try to imagine what we cannot see thought art?

Pictures with crystal-clear water; moments of real life taken away from daily routine and made magic; rarefied skies where various objects are soaring, unreal passer-byes, indefinite imagines of angel-women as if they where the souls of things and people that, now, somewhere else, might see other people’s pain as a minor little event vanishing in the immensity of eternity. The images of a black and a white umbrella rotate, as a reference to the dark and the bright sides of our lives. Forms come out as mysterious phantoms, a kind of alchemy where mystery becomes the new form of a calm that is still achievable.

The works mixes various languages with a unique approach: photography, digital processing and painting technique on Plexiglas stands. The project is completed by a film and a series of light-boxes made with some frames taken from the film, maintaining both thematic and stylistic homogeneity.

Opening July 21st, 2007 Il Frantoio Gallery
Piazza della Provvidenza 11 - Capalbio
From Monday to Sunday from 6 PM to 12 AM
The show will go on until August 12th

Preview June 26th, 2007 WORLD'S ARTISTS - ARTEMISIA ART GALLERY
5, Rue Princesse Caroline Monte-Carlo – Monaco Principate

September 1 - 15 Swabian Castel - Piazzale Silvio Fermi, Manfredonia (Foggia)

Liquid Room is an exciting show of video-art, a form of art which is also itself a kind of liquid architecture, very closed to the fluidity, transparency and vagueness of the inner life. Our post-literary age, already fascinated by the 'liquid architecture in cyberspace' (Marcos Novak), liquid identities and everyday liquid contacts between people, is focused on lightweight infrastructures in motion, the 'musical' structures of light, sound and colours, the ability to transform visual arts into urbanism shows or the real need to sense the reality as a fluid network of individuals, art and technology. I imagine The Liquid Room as a kind of metaphysical box where the liquid walls become the tools for the unificatioon of codes (visual, verbal, sonor or kynetical) in our strange spiritual transition from the stability of things to the mobility of the images. The narrativity of such new forms is far of equilibrium, non-aristotelian and focused on jump, intuition and synthesis, on interactivity, integration and immersion. (Constantin Severin)

The Cultural Communication Center of Klaipeda has functioned from 2004, when The Artists’ House of Klaipeda, which was established in 1987, was reorganized. The Cultural Communication Center of Klaipeda is a cultural institution of the Klaipeda municipality. The Cultural Communication Center of Klaipeda promotes cultural exchange programs, and gives living and creating facilities in the town of Klaipeda to the artists of Europe and world. The Center initiates and inspires artistic–cultural dialogue between Klaipeda and other towns of Lithuania and at the same time provides artistic and cultural training to foreign artists. Klaipeda is a unique city in Lithuania and probably in all the Baltics because of its half-timbered house building style, a style that was popular in the Western Europe. Half-timbered house is a construction style when the shell is built wooden and the gaps are filled with bricks or clay. Such buildings are lighter and they don’t need firm substructure. That’s why it was very applicable to Klaipeda that was being built in a low and swampy place by the fall of river Dange. Temporary Cities festival will be in the Artists' yard, which is surrounded by half-timbered houses.

Ted Knerr, an artist from New York City is our May artist of the month and started his illustrious career as a photographer where he later became in his own words, “a constructive sculptor”.

He then became an abstract painter. Knerr is an artist who is open to all medium and is currently mad about digital prints. He says, “I try to let go of control and let my art find its own way. Creativity comes through the window of ideas from outside conscious control. The experience amazes me by exceeding my plans and abilities.”

Knerr published his own website, Art-spirit.net and also added a gallery page of his friends art.

To learn more about Ted Knerr and to view his new works, please go to ellartist of the month at www.ellartexchange.com.

From June 8 to 24 2007 ARCH Galleria delle Cose shows Giuliano Pastori works. He leaves in Rome, and through photography and painting he carries out a deep search focused on the city. He tries to perceive the urban spaces and the daily life, emphasizing the artificial and authentically human metropolitan experience. Going to exhibit acrylics on canvas and enamels on plastic stuck on canvas.

When two events occur together they are synchronous, but quite enigmatic for the ones who witness them. Carl Jung first worked out the feelings related to synchronous events. There is a synchronous link between the mind and the world of perception. In Pastori’s works, painted like long exposure photographs, painting and photography become two languages explored at the same time, and they define the meanings of urban experience. Pastori does not “freeze” the single moment, but he expresses the real flow of time. The time dimension becomes the essential condition to enter the secret codes of reality, revealing its apparently invisible routes.

SynchroniCity is a report of the daily flow of lights and darkness in a fascinating reality even too much human…urban. Pastori writes: habitual places are crossed through artificial cars, where your perceptions intersect with a reality caught in its continuous flow. The external world is seen as a stratified, historical and changeable one. It reveals itself in its multiplicity, and it clashes with subjective impressions, which are fed by simple and necessary migrations. The interpretation of reality makes of it a concrete personal fragment, tangible limit between the subjective eye and the apparent impartiality of the photography. The impact shows itself in the infinite ways of the image which reveals everything. The night impressions of the city are seen and caught with a simple glance. The depth is reached not only through contrived perspectives, but also through lights: striped, dazzling and vibrating.

Giuliano Pastori was born in 1975 in Rome. After obtaining experimental-artistic school leaving certificate, in 2002 he graduated in Arts (historical-artistic course) at La Sapienza University in Rome. Between 2003 and 2005 he studied and worked in Milano, where he attended a Master in Movie Design at the Politecnico. He also worked as advertising photographer and still photographer (Theatre and Movie) and went on with his artistic project on painting and photography. He explores these two “languages” together: the canvas become as black as negative films to expose, while photography turns to a conceptual and aesthetic approach, sooner than technical. In 2004, within the “Workshop Project” in Rome, he exhibited “Quotidiane Impressioni-Daily Impressions”: a series of pictures and a short-film representing a possible self-portrait, the space where the image rebuilds the memory in all its different linguistic expressions.
In 2005, while he was working on digitally dematerialized images, his painting experiments with a new support: plastic. Thanks to the “old” painting technique, the image is now anchored to an artificial support, which shows its concreteness and its fragility comparable to a negative film. The theme of urban spaces perception is dealt with by using synthetic materials (plastics painted by enamels), underlining the artificial and “authentically human” elements of the metropolitan experience. He has been exhibiting since 1996 within several joint and personal exhibitions in Italy. 2007 - NEW LANDSCAPES 2007, second Place Award Winner, on line international competition organized by ArtromGallery of Rome. Il sentimento della città curated by Alessandra Redaelli group exhibition at Previtali gallery in Milano. L’altro/Io, curated by Antonietta Campilongo and Ida Mitrano group exhibition at Domeus Sessoriana gallery in Rome. Berlino'06 curated by Susanna Horvatovicova solo exhibition at Capsvula Gallery of Rome. Next exposition autumn 2007 on the premises of Casa della Memoria e della Storia in Rome. 2006 - La città, lo sguardo curated by Ida Mitrano group exhibition organized as part of the Film Festival for the Roman Suburbs “Visioni FuoriRaccordo” at MitreoIside. Proposte#1 curated by A. Allegretti and Riccardo Tartaglia (Galleria Tartaglia –Roma) group exhibition organized as part of the project “Drink in Art 06/07 Foyer Valli e Visconti” at Eliseo Theatre of Roma. Itinerari 2006, group exhibition at Studio Pratt of American Academy of Architecture in Roma. Visioni group exhibition in the Almadiani deconsecrated church in Viterbo. Event curated by Arte&Co. of Roma. Eugenìa, curated by Costanza Meli, collective exhibition Biotos Gallery, Palermo. With catalogue. Quotidiane Impressioni, solo exhibition of photo-video-painting, organized as part of the project “Work Up” curated by Silvano Manganaro, Barbara D’Ambrosio, Carlotta Sylos Calò.

ARCH - Via G. Lanza 91A, 00184 - Roma
phone/fax +39.06.45471695
info@archrome.com - info@giulianopastori.eu
www.archrome.com - www.giulianopastori.eu

PORT PERFORMANCE is a Forum for Performance Art, founded 2006 by the artists and art teachers Angelika Fojtuch & BBB Johannes Deimling. We offer intensive Performance Art workshops for students, young artists and interested people at the border of water and land to develop individual artistic work or taking first steps in performative art, get knowledge from experienced performance artists and exchange and discuss ideas with other international people.

The Port as a place of constant exchange, a daily inport and export of values, a place where water and land come together, is the basic idea of the project. In Art Performances the human body is a port for exchanges of inside and personal values with the outside world. Communication takes place. PORT PERFORMANCE conects Performance Art with education, traveling, meeting and exchange to a special form of teaching Art in context. The aim of the workshop is to work out an Art-Performance and its final public presentation. The polish word "CUMA" means hawser and is a metaphor for our final presentation, where we fix the results of the workshop in a public event. During the workshop time we will realize specifical excercises that will help to transform own ideas into a performative work. The center of the workshop focuses the perception of the own personality and the communication with the body. Own perception and selfexperiences characterize the feeling in dealing with body, time and space in performance-art as well as in ordinary communication. To understand his body as a tool and to use this tool in his own communications is the main value of this workshop. Besides this we offer cultural specials, like visiting special art or cultural places, meeting with artists and gallery owners and background informations about the relative art scene. As part of our teaching concept this specials offer the participants direct contacts to artists, galleries and cultural insititutions, that they can use after the workshop for their own needs.

Our first two workshops we have successfully realized in Gdansk in Poland (click here for to see the documentation) and in Tallinn and Parnu in Estonia (click here to see the documentation).

The next workshops.

Berlin, Germany
The third workshop will take place from the 18th to the 28th of July in Berlin. Invited by the association for artistical reasearch Berlin to the "Mistake" project Port Performance offers an interesting workshop in the german capital. The workshop place is in the former cargo harbour of Berlin and the former border of east and west Berlin. The mistake or the failure or the misunderstanding will be the research field during the workshop. Learning and individual developement based on mistakes and failures is not to understand in a negative way, but more as an understanding of searching and finding. It is not about, that one fails, but more how. In an creative process, that has the aim to put a mental idea in to practise, there are all the time points where we fail. This potential we will discover and use for to develop and realise art performances.
27th of July 2007, 7 pm, CUMA #3, the final presentation, Kunstfabrik am Flutgraben, Berlin www.kunstfarik.org
Price for this workshop 250 euro (incl. accodomation, without victuals and travel costs)

Gdańsk & Gdynia, Poland
The fourth workshop we offer from the 12th to the 22nd of August in Poland in cooperation with Laznia - Center for Contemporary Arts, Gdansk. The two cities at the baltic sea connects an interesting duality. Gdańsk with its traditional and historical meanings on the one side and on the other side Gdynia as a young and dynamic community. Two towns, two faces. But both base their existence on the relation to the sea with ports, ships, shipyards and fishings. An interesting field for our performative researches between contrast and balance.
21st of August, 7 pm, CUMA #4, the final presentation, Laznia Center for Contemporary Arts, Gdańsk www.laznia.pl
Price for this workshop 250 euro (incl. accodomation, without victuals and travel costs)

Tel Aviv, Israel
Our fifth wotkshop we will realize in the port city Tel Aviv from the 4th to the 18th of November. In collaboration with PAP - Performance Art Platform we will have a straight connection to the Performance art scene in Tel Aviv. Adva Drori artist from Israel told us in a mail: "You know, there are so many things to see here and cultural events. Sometimes I wonder how is it possible to have so much art and events in a reality of war. Any way it is a bless to have it." The political situation in Israel and the private life that exists besides each other will be the research field in this workshop.
17th of November, 7 pm, CUMA #5, the final presentation, Performance Art Platform, Tel Aviv www.miklat209.org
Price for this workshop 550 euro (incl. accodomation, without victuals and travel costs)

For all three workshops you can order the application forms now. Just send your request by mail to info@portperformance.net with the name of the city in the subject.

For more and detailed informations please visit our website www.portperformance.net or contact Angelika Fojtuch or BBB Johannes Deimling by email info@portperformance.net

"Angelika Fojtuch and BBB Johannes Deimling - are an unusually and interesting example for a couple creating art together. Apart from their own works (individual and collaborative) they lead workshops which put another engaging formula of performance art into practice - community of individualisms, the sum of talents by each person, that bears fruits of individual realization, that all together creates a successive work. Workshops are works of art in their activities." Lukasz Guzek, www.spam.art.pl

An Interview with Angelika Fojtuch & BBB Johannes Deimling, speaking about the PORT PERFORMANCE Workshops you can find here.

Taiwan Biennal Finalist

Marcus Antonius Jansen's work (Urban Times) was selected a finalist at the recent 12th International Biennial in Taiwan.

Out of artist's from 74 countries that submitted 2,503 works total and 1,351 works in the Print category, the New York native and recently awarded Who's Who in American Art candidate was one of only eight American artist's in his category to be selected for this prestigious Biennial. The exhibition traveled to various locations in Taiwan,including the National Taiwan Museum of Fine Art,Taiwan and the Kuandu Museum of Fine Arts.

Among the international Judges was David Kiel, Director of the Print Department at Whitney Museum of Art.

This work is now available from online and comes with one complimentary Jansen book for limited time: www.marcusjansen.com

Marcus Antonius Jansen Gallery
t: 239.369.0846
www.marcusjansen.com
info@marcusjansen.com

Brazilian artist Milton Jeron was selected as our April artist of the month. Jeron is a passionate man who envelopes his tropical culture in his paintings. He was born in Nicosia, Cyprus and was raised in Brazil where he continues to reside.

His paintings reveal a tropical richness where insistent geometric forms stand out among abstract and figurative images. He is an obsessive painter of forms that are defined by colors that break the serenity of the paintings.

Jeron will be in a solo exhibition Galeria Monica Filgueira, Sao Paulo, Brazil in October 2007.

To learn more about Milton Jeron and to see her new works, please go to ellartist of the month at www.ellartexchange.com.

Mantooth’s advice to herself as an artist, “is to choose discovery over perfection every time”. She paints about the current events that are taking place and the world around these events of our time. Mantooth says, "My work is often based on images and stories in the news, people who look out at us every day from the printed page and television screen but who are usually nameless - refugees, rebels, farmers, men and women who tend and defend their land, homes, children, animals and ideas. My intention is that they speak out from the paintings. HERE WE ARE!”

Mantooth has also shown her works in the Sao Paolo Museum of Modern Art in Sao Paulo Brazil, Bahia Museum of Modern Art, The Heard Museum in Phoenix, Arizona, The Queens Museum of Art in Queens, New York among other group and solo exhibitions.

To learn more about Henrietta Mantooth and to see her new works, please go to ellartist of the month at www.ellartexchange.com.

After Urban event is organized by Colette Copeland for the Visual Studies Students and open to the University community including faculty, staff and students in the school of design and cinema studies. The screening will be opened on March 1, 2007 at 5pm at the Meyerson Hall in the University of Pennsylvania, Philadelphia.

The existence of a city implies the respect of a great number of said or unsaid codes, namely all these codes which characterize social life from the simple polite gestures up to the obedience to general sanitary, administrative or juridical rules. Does “After urban” refer to the moment when humanity has abandoned its social capacity which indeed represents its fundamental characteristic? Does this mean that each human creature will try to live alone far away from any society? Of course it will be easier not to share space and time with the anonymous others. Imagine! No more traffic jam, no more noise of whatsoever, no more conflicts. Only wild nature. And loneliness. Nathalie Cailteux

“Marks, Scratches and Doodles” which is on display at the Palos Verdes Art Center from January 26 – March 17, 2007, explores the many and varied aspects of the world of drawing, from simple sketches to complex compositions. The free exhibition, at 5504 W. Crestridge Rd., Rancho Palos Verdes, is open from 1 – 4 p.m. daily.

There will be a reception honoring the participating artists: Srboohie Abajian, Sharon Allicotti, Barbara Berk, Terrill Cascia, Jennifer Celio, Judy Chan, Wes Christensen, Linda Flemming, Reneé Fox, Matthew Furmanski, Mark Steven Greenfield, Carol Goldmark, Ric Heitzman, Kiel Johnson, Eva Kolosvary-Stuplar, Peter Liashkov, Jim Murray, Susan Rush, Michael Salerno, Tom Smith, Michael Storrie, Harrison Storms, Daniel Sweetman, Jamie Sweetman, Joyce Weiss and Lawrence Yun, from 5 – 8 p.m. Friday, January 26.

From painting to architecture, drawing is basic to the visual arts. While, in its broadest sense, drawing includes every use of the delineated line, the word drawing is commonly used to describe works in pen, pencil, crayon, chalk, charcoal and similar media in which form, rather than color, is emphasized. A drawing can be either a preparatory study or a finished work of art in its own right.

Man has been communicating by drawing since time immemorial—the hunter scratching a diagram in the dirt with a stick to show where he found game; the shaman using a piece of charred wood to make symbolic marks on a rock; the warrior marking his face with ochre before battle. The most ancient evidence of the production of art actually predates the generally accepted earliest dates for the appearance of modern humans. Cup marks and a meandering line were etched into a sandstone cave in India two or three hundred thousand years ago.

By the Upper Paleolithic period, man’s drawing had become quite sophisticated. The famous cave paintings in northern Spain and southwestern France, dating back some 35,000 years, include the use of perspective, shading, realistic animal forms, hand stencils, movement and various pigments.

“Marks, Scratches and Doodles” curated by Scott Canty, the Palos Verdes Art Center’s exhibitions director, is a collection of drawings by contemporary Southern California artists. Working in different mediums and styles, these artists demonstrate a variety of creative approaches to the depiction of their individual environments—the people they know and the places in which they live and work.

The Palos Verdes Art Center, a non-profit organization, has served southwestern Los Angeles County with visual arts exhibition, education and community outreach programming for more than 75 years. For more information about Marks, Scratches and Doodles or other Palos Verdes Art Center programs, call 310-541-2479.

We proudly introduce our first artist of the month Vincent Pomilio.

Pomilio is a New York City artist who currently says about his work, “More is better has replaced less is more in this new work. To achieve balance and harmony within these densely chaotic compositions is one of my goals. If I keep it interesting and fresh for myself and ultimately for you, I feel I’ve done my job.”

Pomilio is currently in a group exhibit at the Great South Bay Gallery in Hudson, New York, “If they could see us now,” is about the Hudson River School in Hudson, New York. The show has plans to travel to Rensselear Polytechnic Institute. Pomilio is also represented by the Van Brunt Gallery in Beacon, New York where he is presently in a group show titled, “New Hudson #3” that ends in mid March. In August 2007, he will be in a two person show at the Van Brunt Gallery where he will be showing 10 new paintings.

To learn more about Pomilio and to see his new works, please go to www.ellartexchange.com

Consumer advertising for prescription medications was legalized in 1997. Since that time, more and more prescription drugs are being developed and sold which can be lifestyle enhancing rather than life-saving. In response to the marketing and advertising tactics of the pharmaceutical industry Cooper has created a fictional marketing campaign to launch her magic-bullet lifestyle pharmaceutical HAVIDOL® which treats Dysphoric Social Attention Consumption Deficit Anxiety Disorder.

HAVIDOL® is a frightening approximation of the real thing. Parody gives way to possibility as Cooper recreates the entire drug marketing process--from the invention of a new disorder (wherein a need is first found and then the disorder is penned) to the branding process of naming the drug, its pill and logo design, promotional merchandise, and finally its website, TV and print advertisements.

HAVIDOL® taps into our collective desire and expectation that there is always room for improvement, while walking the line between poking fun at ourselves and wondering how to obtain a prescription. The marketing message leaves us with the sense that we are never good enough, nor have enough. Are we a society of hypochondriacs, or are we biologically built and genetically urged to out-compete our peers and former selves? Cooper's works on exhibition comment on our temperamental relationship to western medicine, built upon the idea of a malfunctioning body or mind, and the yearning to believe everyday life can be remedied.

HAVIDOL® is an artful parody of a new kind of gold rush heralding an era in which pharmaceutical companies mine psycho-chemicals for a public who is ready to swallow almost anything in the pursuit of the new American Dream: a life without pain, only gain.

Australian interdisciplinary artist Justine Cooper lives and works in New York. She investigates the intersections between culture, science and medicine, moving between animation, video, installation, photography, as well as medical imaging technologies such as MRI, DNA sequencing and Ultrasound. Her work has been internationally reviewed and exhibited. Most recently at the Asia-Pacific Triennial and Eyebeam, along with The New Museum, New York; The NTT InterCommunication Center, Tokyo; The Singapore Museum of Art; The Netherlands Institute for Media Art, The George Pompidou Centre, Paris; Kwang Ju Biennale, Korea, and the International Center of Photography, New York. Justine’s artwork is held in public and private collections including the Metropolitan Museum of Art, The Powerhouse Museum (Sydney), The Queensland Art Gallery and the Australian Center for the Moving Image. She is the recipient of an Australia Council Fellowship a 2-year, once in a lifetime prize awarded to an artist of outstanding artistic achievement and potential.

The artist would like to thank New York State Council for the Arts, Greenwall Foundation, and Lower Manhattan Cultural Council for their support of this project.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. This project has been assisted by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.

“A voyage, an itinerary through space and time… “Berlino 2006” the year of the Biennale of Contemporary Art : I roam toward the wide body of the exhibition. Through the metropolitan experience of every day life and the underground of the city I feel the Art work and context, the image and the existence... I wander and I find myself in the museum of memory, when again the symbolic form and the silence of history melt together…” Giuliano Pastori

Thursday 25 January - 6.30 p.m. CAPSVULAartecontemporanea, via Ascanio Rivaldi 9 Rome, inaugurates the exhibition Berlino ‘06 of Giuliano Pastori organized by Susanna Horvatovicova (01.25- 02.14. 2007). The exhibition is open only by appointment.

The installation “Berlin ‘06” was born because of a trip of the young artist Giuliano Pastori for the IV edition of Biennial of Berlin. The exhibition is composed of a series of images of Berlin. The shots of Pastori are concentrated on places of passage but entrapped, without windows and exit. The lens points to shadowed walls tight and deep, like a hand reaching between the half opened legs of a woman. The photographs dirty and slightly grainy show sites of uncertain future, a subtle metaphor of “non choice”. They point out a reality that doesn’t have an immediate solutions, and they provoke a strong sense of uneasiness and worry. The human being is visible only through his absence and his inability to turn back. Pastori dwells on details rather then on wide views, he doesn’t talk nor transcribe on diary pages, but picks up hidden corners of the city. He transfigures the sense of a video projected in the Biennial of Berlin 2007 because he concentrates on the general atmosphere of anxiety. In the same time, he shows inside the Jewish Museum of the architect Daniel Libeskind, he represents the museum like the eloquent synthesis of perfect adherence between the form and the ethic function and the message of horror and hope.

In the other work, the author frames a ship’s passage in the Pacific after the Hiroshima explosion. The restricted shot of the image destroys the impression of immensity and naturalness of the Ocean and transmits an oppressive sensation. In this way Pastori’s photographs undergo a process of transformation of place’s meanings, since they illuminate the stratification of sense and put accent on our capacity of evocation of “no space” of Berlin, space of mind impressed and formed by the history of the city.

The empty and the silent, the sense of loss and instability of Pastori’s images remind us of an installation by Marcel Duchamp Porte : 11 rue Larrey (1924-1964). The French artist photographed the door of his apartment in Paris that contemporarily opens on to two dark rooms: the image of the door’s threshold that, if it is open, it’s also closed, if it’s closed, it is also open, it triggers a disturbing sensation in the spectator. Without metaphor, without relating to specific places, the door leads to arouse the device that produces an unrepeatable event out of cyclic time and space of every day life.

If the art critic Luisa Valeriani asserts “Duchamp doesn’t transcend the things, but inside our Reality picks up our freeing virtuality”, Berlino ‘06 of Giuliano Pastori seem to answer the same question of philosopher Plato, when he asks : what can you see beyond the dark when entering a cavern? The idea we have of reality or the same immanent reality? Critic text by Susanna Horvatovicova

Giuliano Pastori (1975) lives and works in Marino (Rome). Exposition selection: 2006 - La città lo sguardo, curated by Ida Mitrano at the MitreoIsi de centre for contemporani art. Proposte#1, curated by A.Allegretti and Galleria Tartaglia, in the project “Drink in Art 06/07 Foyer Valli e Visconti at Eliseo Theatre of Rome; Itinerari 2006, at Studio Pratt, Americane Academy of Architecture of Rome; Visioni, Almadiani deconsecrated churc of Viterbo; Eugenia, curated by C:Meli Galleria Biotos, Palermo. 2005 - Quotidiane impressioni, solo exhibition curated by S.Manganaro at Parablò, Roma.

Capsvla Arte Contemporanea
via Ascanio Rivaldi 9, Roma
phone: +39.3356577850

The co-production DVD titled 'Tangents, a mindscape in a landscape' is the result of a collaboration between Cecile Elstein and Maureen Kendal. It presents the artists journey from the inspiration of the urban regeneration in Castlefirld Manchester UK, to the design, building and video of a temporary sculpture for an English country garden designed by 'Capability' Brown. Inspired by the history of the English country garden, the painting titled 'The corn sifters' by the 19th century painter Gustave Courbet and European art movements of the 19th century; the sculpture and the DVD captures participation and response of the public to this contemporary, temporary, sculptural installation in the beginning of the 21st century.

About the artists.
Cecile Elstein, freelance sculptor, printmaker and environmental artist lives in Manchester UK. This versatile artist relates to the necessity of relationships and has worked in different media to produce sculpture, screen-prints, environmental art/installations, video and DVD production. Further details are listed on the website: cecileelstein.com

Maureen Kendal, is a poet, filmmaker and educationalist. She is a Senior lecturer in Multimedia Systems at London Metropolitan University. To view another of her multimedia art and landscape projects see: www.gunpowderpark.org/revelation

Brief synopsis of 'PRESENT'.
This privileged summer is, as with all exhibits, transient. The video takes us from Castlefield, an area of regeneration in the city of Manchester U.K. to design sculpture for a National Trust Garden in Cambridgeshire in the English countryside.
In spring hares are disturbed in a wheat field. A temporary sculpture/installation made of rope and metal is built. The sculpture is appreciated in different ways by members of the visiting public and other happenings. By the autumn, the grass has grown through the sculpture and it is time to take it down, leaving the countryside to sheep, cows and birds.
A butterfly alights in that split second. Don't miss it!

To order the DVD 'Tangents, a mindscape in a landscape' email your name and postal address and money transfer to cecile@cecileelstein.com or click here. The DVD will be posted to you on receipt of the purchase price.

Dune 4.0 is an interactive landscape which reacts on the behavior of people. This hybrid of nature and technology exists out of large amounts of fibers which are brightened according to the sounds and motion of passing visitors. Dune 4.0 investigates nature in a futuristic relation with urban space by means of looking, walking and interacting.

HOUSTON, Texas – This fall, the Contemporary Arts Museum Houston presents Wishing for Synchronicity: Works by Pipilotti Rist, the first comprehensive U.S. survey of the seminal work of the Swiss video artist. Organized by curator Paola Morsiani, the project brings together Rist’s most significant work from the mid-1980s to the present. Wishing for Synchronicity: Works by Pipilotti Rist is on view through January 14, 2007, touring nationally following its Houston presentation.

“Pipilotti Rist is a tremendously innovative and distinctly personal voice in contemporary art. As a master of her chosen media, she uses her large and small projections to place the viewer within her world, provoking the contemplation of broad issues through her individual actions,” said Contemporary Arts Museum Houston Director Marti Mayo. “We are proud to have organized her first survey exhibition in the U.S. for our diverse regional, national and international audiences, thereby continuing the Museum’s almost 60-year tradition of presenting the best and most exciting art of our time.”

Wishing for Synchronicity: Works by Pipilotti Rist includes eight of Rist’s early single-channel videos, six large projections, and three additional works. The exhibition features a selection of significant works spanning her career, such as I’m Not the Girl Who Misses Much (1986) and Sip My Ocean (1996), in which pleasurable images and music quickly become metaphors for hysteria and suffocation, and Ever is Overall (1997), in which the camera follows a female walking through city streets, smashing car windows with an iron flower as she meanders.

“Through her use of video, Rist combines the worlds of art history and mass culture to create her own visual language,” said exhibition curator Paola Morsiani. “She uses this convergence to intelligently explore the power of our mind and its connection to the body as well as the pervasiveness of our sexual experience and its link to our mortality; and she expresses her profound empathy and hope for the times in which we live.”

Rist recently accepted a prestigious commission to create the visual identity for The Armory Show 2007, The International Fair of New Art, to be held next February in New York City.

Rist was born in 1962 in Switzerland, and studied at the Academy of Applied Arts in Vienna, Austria and the School for Design in Basel, Switzerland. Her work has been shown at the Venice Biennale; the San Francisco Museum of Modern Art; the Metropolitan Museum of Modern Art, Tokyo; the Solomon R. Guggenheim Museum, New York; and the Museum of Contemporary Art, Chicago. She lives and works in Zurich, Switzerland.

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