UHF42 organized by Mike Crane May 29 - June 27, 2014 — in Ramallah, Palestine
Broadcasting videowork via Palestine's only independent, nonprofit, and non-state sponsored news broadcaster, UHF42 is a weekly artist television program that aims to highlight the vitality of the television medium.
Franchise Program Winner
Through the work of eight international artists, The Hidden Passengers investigates the relationship between science and art and argues that by adopting scientific practices and tools, art finds a way to participate in the world.
Unsolicited Proposal Program Winner
Private Matters organized by Ceren Erdem, Jaime Schwartz, and Lisa Hayes Williams
January 16 - March 1, 2014
Private Matters presents a group of artists who, through individual strategies of sharing various kinds of secure information with the audience, blur the boundaries of the public and private.
Unsolicited Proposal Program Winner
Heterotopia organized by crystal am nelson October 5 - November 2, 2013 — in Marfa, Texas
Exploring the cultural landscape of Marfa that pre-dates Donald Judd and the contemporary art influence, Heterotopia will illuminate the pre-Minimalist history of this West Texas town.
Franchise Program Winner
In the wake of the Arab uprisings, the anonymous cameraman has emerged as a powerful new figure in the politics of representation. Death of a Cameraman explores the complex space between the camera and eye and between documentary, documentarists, and the documented.
Unsolicited Proposal Program Winner
Open Sesame organized by Ola El-Khalidi
January 17 - March 2, 2013
Open Sesame invites artists to respond to stories collected from families from Kuwait who were forced to leave their homes during Saddam Hussein's regime, moving to Jordan, Egypt, and the USA.
Unsolicited Proposal Program Winner
As Real As It Gets gathers fictional products, imaginary brands, hypothetical advertising and speculative objects, devised by artists, designers, and companies. We resist commercial material culture as inauthentic, phony, and less than legitimate, but should we? Presenting the marketplace as medium — while supplies last.
UNREST: Revolt against Reason presents an international group of contemporary artists who tackle issues of inequality, conflict, and instability in recent history. The impetus for this exhibition begins with the wave of uprisings in Syria, Yemen, Algeria, Iraq, Jordan, and Morocco and extends to the heterogeneous growth of the Occupy Wall Street movements, which permeated and infected streets, offices, schools, and cultural centers across the world.
The Permanent Way juxtaposes contemporary American landscape photographs with documentation of and information about the rapid expansion of railroads in the United States during the second half of the nineteenth century.
Flesh and Concrete curated by Jaya Klara Brekke and Julio Salazar
April 19 - May 17, 2012, in Mexico City, Mexico
The exhibition Flesh and Concrete examines the contradictions in the visually impressive but socially destructive process of infrastructure development, exemplified in the construction of the extension to the Supervia Sur-Poniente highway in Mexico City.
Consent curated by Lynsey G
March 21 - May 12, 2012
Consent explores complicated questions of sex, pleasure, intimacy, and morality and how they relate to ideas of consent in pornography. The exhibition seeks to address the nature of consensual participation in adult material, as it collapses the distance between the "us" and "them" in porn and sex.
The exhibition Just do it! Creative strategies of survival investigates the complex relationship between local commerce, embodied by the proliferation of informal small businesses called Spaza shops in Johannesburg, and the global economy.
A Postcard from Afar: North Korea from a Distance is an attempt to envision a state and culture that is shrouded in secrecy and is both the producer and victim of oppositional propaganda mechanisms. The exhibition seeks to develop a picture of what North Korea might be, in the absence of reliable, unbiased information of a nation that operates in exile from the international community.
The Walls That Divide Us addresses the post-Cold War proliferation of nation-state and city separation barriers across the globe as symbols of dissent in contemporary politics. Featured artists examine the ideology of wall building as a means of dividing land and people to establish sovereignty. Selected works explore the construction and fall of the Berlin Wall, phenomena including imperialistic enterprises and migration, and current zones of conflict such as the U.S.-Mexican border and the Israel/Occupied Palestinian Territory.
Private Stash: A Musician's Eye explores the influences that shape jazz musician and composer Fred Hersch's work. The exhibition will feature everything from visual artwork to personal mementos, and will give visitors the opportunity to explore the many sights and sounds that have had an impact on his oeuvre.
With an often raw and personal undercurrent of neurosis and obsession and a tilt toward the refreshingly unordinary angle, The Peripheterists deal with traditional genres, bringing up old-fashioned but eternal questions about what art is, why people bother. If they walk away from it all do they remain artists, and are the most creative necessarily the ones who "make it?"
A line drawn by man across a landscape allows populations to move but also to dream, to pray, to transcend. It is a means of control, at least until new technologies make new movements possible. We Have Woven the Motherlands with Nets of Iron will explore these questions about what remains of these lines in a post-colonial age. The show will occur on this line itself, after it was built, then broken, then revised and revived, at a time with the lines (borders) that this line (the Hejaz Railway) crossed are being redefined.
What will they say about you when you’re gone? What would you say about yourself? Let it End Like This asks a unique blend of writers, painters, directors, models, Olympians and brillianteurs in-between to create their own obituary, examining life gone by and still to come, deeds done or that remain, great loves won or still to be, and a few famous last words along the way.
comvideo Organized by apexart
November 10 – December 22, 2010
We invited artists and creative others from around the world to cut, dub, reverse, add to, and otherwise manipulate at least one broadcast commercial and submit a 60 second video. We asked you to add a critical element to the exhibition by watching and voting on as many videos as you'd like. The creator of the winning video will receive $2,000, and the top five videos will be shown on a public screen in Manhattan.
The FIFA World Cup is the most important and widely watched sporting event in the world and will run this
year from June 11-July 11, 2010, in South Africa. The germinal idea for the show is very simple: to create
the perfect football environment, a sort of mini-soccer paradise at apexart for watching games.
Around the games themselves, there will be talks, events and a series of works that show the curious place
that soccer has in contemporary art.
The exhibition will attempt to link observations about the impact of cybernetics and digital media on our everyday relationships, curated by students from Satellite Academy High School Forsyth Campus and organized by ABACA.
For the last five years Bad at Sports, a collective based in Chicago, New York, and San Francisco, has attempted to document their art world from the inside. The artists in the collective have logged close to 300 hours of audio interviews and (what might best be described as) reportage and produced thousands of blog posts and tweets for their site badatsports.com.
In a mass produced world of global goods, the act of creation is often lost or forgotten. Hidden machinery cranks and sweats out elements of our everyday life, yet we rarely glimpse the environment where ideas are physically forged. To produce the exhibition free size artists Alvaro Ilizarbe, Jen Stark, Juan Angel Chavez, and P7 will work directly in the Sinudom Silk Screen factory, in Thailand, along side employees creating works of art.
The exhibition argues that the Incidental Person stakes out a new position, outside of the 20th-century triad Joseph Beuys-Marcel Duchamp-John Cage. Unlike the latter, the Incidental Person does not seek to solve the "art-life" or "mind-body" problems. Instead, she or he fails to see them as problems at all, since for the Incidental Person art, life, mind, and body cannot be understood in opposition to one another.
Avant-Guide to NYC maps the art environment of New York of the twentieth century, reconnecting historic sites to their present functions. Marcel Duchamp's studio, Peggy Guggenheim's Art of This Century, and Group Material — where are these places, and what are they now, in the constantly shifting cultural fabric of New York? The exhibition presents artists' works produced in response to the sites.
A Way Beyond Fashion explores important issues raised by the fashion industry such as the projection of identity, the research for new technology and the question of sustainability in mass consumption.
Wondermare curated by Susan McIntosh and Albert Wilking
July 8 - August 7, 2009
This exhibition takes the narrative template of Alice
in Wonderland where childhood serves as a grand metaphor for the stages of development and the often nonsensical rituals that we must travel through in order to obtain a civilized or adult persona in the world we see through our looking glass.
The Franchise EAST MEETS WEST: ONE MONTH & TWO EXHIBITIONS
456 PROPOSALS + 65 COUNTRIES + 250 JURORS + 7000 VOTES = LOS ANGELES
June 4 - July 3, 2009 (Los Angeles) apexart presents the exhibition X, Y, Z, and U curated by The Franchise winners The League of Imaginary Scientists at Outpost for Contemporary Art in Los Angeles.
June 10 – July 3, 2009 (New York)
While the franchise is on view in L.A., apexart will present an exhibition that comments on business strategies adopted by the artworld and the process of the franchise project.
Leon Dufourmentel, a pioneer in plastic surgery, said in 1948, “...If I went to Picasso for my portrait, he would probably make me a monster and I should be pleased because it would be worth a million francs. But if Picasso came to me with a facial injury and I made him into a monster, aha, he might not be so pleased.”
Presenting work by Anthony Berlet, M.D., Antonino Cassisi, M.D., Michael Cohen, M.D., Scott Spiro, M.D.
If the secrets to finding true love are often elusive, well, so
are the secrets to making films about love. How do you inject
humor into a film about heartbreak? How do you portray a happy
romance without being too saccharine and oversentimental? Author
and filmmaker Davy Rothbart, at work on a personal documentary
called My Heart Is An Idiot, has asked a collection of
talented and eclectic friends to explore these and other challenges
by producing short, love-related films of their own.
With projects by Akay, Kyle Alvarez, damali ayo, Rachel Dengiz,
Shaina Feinberg, Chelsea Hodson, Marc Israel, Sarah Locke &
Ghostshrimp, Brett Loudermilk, Chris K, David Meiklejohn, Carson
Mell, Amber Morris, Kel O'Neill & Eline Jongsma, Scott Patterson,
Jessica Sanders, Dan Tice, Nicky Verdoodt, AJ Wilhelm & Jason
Orfanon, Lev Yilmaz, Jenny Owen Youngs
The debate on artistic research emerging worldwide in the field
of visual art for some five years now tends to focus on what artistic
research could be or should be. The exhibition Nameless Science
aims to expand this debate by showing the outcome of artistic
research in seven examples of best practices from artistic PhD
With projects by Ricardo Basbaum (Brazil), Jan Kaila (Finland),
Irene Kopelman (The Netherlands), Matts Leiderstam (Sweden), Ronan
McCrea (Ireland), Sarah Pierce (UK/USA), and Morten Torgersrud
With works by Laylah Ali, Mel Bochner, Luis Camnitzer, Kabir Carter,
Ele D'Artagnan, William Daniels, David Dupuis, Igor Eskinja, Jackie
Gendel, Kate Gilmore, Trajal Harrell, Elana Herzog, David Humphrey,
Ross Knight, Virgil Marti, Ryan McGinley, Martin McMurray, Jim Nutt,
Ann Pibal, Shahzia Sikander, Jack Smith, Mickalene Thomas, and Alexi
SCRAWL curated by Harley Spiller
September 4 - October 11, 2008
of close to 100 different handmade pronouncements collected from
the streets and subways of New York City over the past 25 years.
The works on exhibition range from scary to silly, from terse suggestions
to indecipherably complex amalgams of mathematical figuring, philosophical
posturing, and political ranting. Whether the ideas are impeccably
presented in uniquely beautiful calligraphy, or scribbled, illegible
palimpsests, the creators all seek to have their ideas recognized,
many silently urging their fellow New Yorkers to right wrongs both
personal and universal.
Through installation, new media and fine arts, these Curatorial
Studies students explore works of art that address different relationships
of power in the city. Students connect their personal experience
and their life in New York City to visual and architectural manifestations
of power and ideology around them. They will closely look at the
architecture in their neighborhoods such as East New York, Harlem
and the Bronx.
Artists: Michael Dal Cerro, Michael Paul Britto, Karlos Carcamo
and James Jaxxa
This show explored a very small and specific type of artmaking
exemplified by contemporary people like David Shrigley, Raymond
Pettibon, Nedko Solakov, and Tucker Nichols. This kind of art,
which we refuse to name, is somewhat crude, usually irreverent,
and always funny. It exists somewhere between one-panel cartoons
and text-based art.
Through visual elements and theoretical texts, the videos in
this exhibition reflected on the application of appropriational
technique to film. Each of these videos combines a theoretical
text that is written and spoken by the author and film footage,
fragments taken out of different movies and film documentations.
At first glance these videos remind the spectator of the videos
and short films that are used today to transmit knowledge, to
comment on the news, to spread religious and ideological propaganda,
or to be used in the framework of education.
apexart held an open call, requesting submissions of a 30-second
TV commercial about us from individuals and collaborative groups.
The commercials are available for viewing on a public-access site,
where viewers were encouraged to visit and cast votes for their
favorite. In addition, all commercials were be on view as part
of an innovative living-room-style installation at apexart from
January 9 to February 16, 2008. The winning entry will have their
commercial aired on network TV.
Land Grab curated by Sarah Lookofsky and Lillian Fellmann
November 7 - December 22, 2007
As real estate prices have skyrocketed throughout cities of the
world, it has become increasingly difficult to sustain a place.
Some artists' responses to this situation mirror those of many
practitioners in the sixties and seventies who moved to the margins
to seek out an abandoned or still undeveloped site to live and
work on an expanded scale. By contrast, no piece in LAND GRAB
has involved a real estate transaction or finding that prime location.
Artists: Leyla Cárdenas, Jens Haaning, John Hawke, Albert Heta,
Søren Holm Hvilsby and Pernille Skov, Lasse Lau, Dan Perjovschi,
Recetas Urbanas, Katrin Sigurdardottir, Michael Smith and Joshua
White, Lars Vilks
Every new telling of a story perfects its narrative but also
rearranges, edits and moves it further from its original, authentic
plot. What do we remember? How do we remember and retell stories
of the past? How do we project them into the future?
Artists are Zbynek Baladran, Alejandro Cesarco, Felix Gmelin,
Sanja Ivekovic, David Maljkovic, Ahmet Ogut, Katerina Seda, Artur
The Most Curatorial Biennial of the Universe was presented in
response to two major social issues of our time: biennialessness
and poverty. Through an open call to curators and artists, over
450 people became "with biennial." All works were available for
donation. All 355 works in the exhibition were bid on and that
nearly $13,000 was raised (in $10 increments) for the Robin Hood
Foundation of NYC.
The show is comprised of nearly one hundred artifacts from Sante's
own collection--holy pictures, photographs, death letters, leaflets,
posters, dime novels, relics, banners, and ephemera. These objects
will be connected by a text running along the walls of the gallery.
The visitor can choose to engage with the exhibition either superficially
or in depth. Either tactic is guaranteed to leave a subconscious
residue of ambiguity and doubt.
This exhibition was curated and presented by high school students
enrolled in ABACA's Curatorial Studies class held at Satellite
Academy. This year's exhibition seeks to discuss and demonstrate
different aspects of violence such as racism, stereotypes and
social or historical injustice, as well as personal and emotional
experiences with violence, through works of art.
Artists: Bradley McCallum & Jaqueline Tarry, Micheal Paul
Britto, Lan Tuazon, John Abner and Jessica Acobe
The two Jews from L.A. who bring you Drawn Together present
the people who help write and draw the series in an “art” exhibit.
Artists from Rough Draft Studios show unpublished, unaired, uncensored
and mostly unseen stuff.
With work by Stephanie Arnett, Dan Bond, Edgar Duncan, Edmund
Fong, Bari Kumar, Gennady Kornyshev, Samantha Harrison, Jeff Mertz,
Mike Wodkowski and a text by Elijah Aron and Jordan Young
This exhibition brings together the work of a group of artists
that consistently and very differently explore temporariness and,
more specifically, the possibility of temporal instability in
the work of art. This is manifest not so much as a subject, but
rather as a constitutive element, shaping the artwork's fragility
as well as the indeterminacy of an exhibition visitor's experience
of it. Whether primarily motivated by the political, aesthetic,
economic, or the intimate, these objects literally perform their
Artists: Michel Blazy, Felix Gonzalez-Torres, Gabriel Kuri, Oksana
Pasaiko, Tomo Savic-Gecan, Joëlle Tuerlinckx
Whether a gift for a superior, an inferior, a partner, family
member or friend, issues of intent and meaning are part of the
wrapping. This exhibition reconsiders the relationship of philanthropy,
hidden meaning and gift giving. Ten local artists have each been
commissioned to produce a "gift." A present for someone
they don't know. The only restriction given was that it had to
fit in the gift box we provided, otherwise we would show whatever
they gave us, with no censorship.
Artists: Felipe Arturo, Nayia Frangouli, David Greg Harth, Vandana
Jain, Matt Keegan, Kambui Olujimi, Lisi Raskin, Paul Wirhun, Joe
Scanlan, Alejandra Villasmil
Phantom Captain explores art collaboration that involves
amateur groups of individuals responding to “crowdsourcing”
initiatives created by artists. The term crowdsourcing was coined
by Jeff Howe and Mark Robinson of Wired Magazine and
describes “user-generated content,” or outsourcing
labor to armies of amateurs. While crowdsourcing is becoming common
practice in business (see Howard Rheingold’s Smart Mobs),
its potential is also being harnessed by artists to create communal
Artists: Jeff Howe, Peter Edmunds, Harrell Fletcher and Miranda
July, Aaron Koblin, Davy Rothbart, Allison Wiese
Re-enacting (with a twist) famous conceptual works, the artists
in neo-con level and humanize, by quirky humor and down-to-earth
sensibility, the key principles of Conceptualism like the favoring
of ideas over object-making, the dematerialization of the art
object, the production of work in collaboration and often without
Artists: Iain Forsyth and Jane Pollard, Jonathan Monk, Yoshua
Okon, Joao Onofre, Mario Garcia Torres, Francesco Vezzoli
How do the two terms, art and gift, dfine each other? This summer’s
exhibition results from interviewing a number of artists and non-artists
about gifts given and received, presents reflections on how gifts
redefine the boundaries of artistic production.
Featuring gifts given and received by: Eric Walker, Eliza Griffiths,
Julie Voyce, Stephen Andrews, Paul P., Glenn Ligon, Byron Kim,
Paul Ramirez Jonas, Harrell Fletcher, Harriet Sigal, Lisa Sigal,
Amy Sillman, Eric Banks, Jutta Koether, Richard Phillips, Inez
van Lamsweerde and Vinoodh Matadin
This "mini" version of the Tirana Biennale asks: What
happens to inhibitions in today’s swell of globalization?
Does the old Polynesian term “taboo” still have meaning,
or have such notions disappeared in the “everything goes”
drive of global Capital? To what extent do the power structures
of our society differ from those of the past, and is history still
The act of leaving one‘s given place and occupying another
is both emotionally and spiritually intense. What can be the gains
of the physical and intellectual relocation? And, more importantly,
can we displace our focus without losses?
Artists: Big Hope (Miklós Erhardt and Dominic Hislop),
Ian Burns, Sonja Feldmeier, Andrea Geyer, Wang Jianwei, Szabolcs
Kisspál, Moshekwa Langa, Little Warsaw (Bálint Havas
and András Gálik), Myrna Maakaron, Katarina Sevic
From the Peloponnesian Wars to the Black Death and the War in
Iraq, in dire times laughter has always been the best revenge.
Art critic Amei Wallach surveys three generations of artists who
amuse and appall.
Artists: William Anthony, Ida Applebroog, Hideaki Ariizumi, Atlas
Group/Walid Raad, Tamy Ben-Tor, Paul Chan, Michael Combs, Thornton
Dial, Matt Forderer, Regina Gilligan, David Hammons, Ilya &
Emilia Kabakov, Melamid & William McClelland, Peter Land,
Laura Nova, David Rees, Skart, Nancy Spero, Art Spiegelman, Marie
Watt, Olav Westphalen, Paul Zaloom
Exploring the complex relationship between mass media and global
corporate culture, this exhibition explores the strategies of
grassroots activism (installation, poster, video, radio, and internet
art) to demand freedom of information rights and bring forward
what is being omitted.
Artists: Paul Chan, Marcelo Expósito, neuroTransmitter,
Martha Rosler, The Speculative Archive / Julia Meltzer and David
Thorne, 0100101110101101.ORG (Eva and Franco Mattes), The Yes
Featuring responses by artists to 9/11, the exhibition aims to
show how art actually embodies grief and to reflect on how artists
dealt with the attack.
Artists: Audrey Flack, Leslie King-Hammond, Jeffrey Lohn, Mary
Miss with Victoria Marshall and Elliott Maltby, Lucio Pozzi, Ursula
Von Rydingsvard, Cindy Sherman, Barbara Westman, Robert Rahway
The tactile, visual, and philosophical fuse in this exhibition,
historically anchored in the “gifts” innovated in
the 1830s by Friedrich Fröbel, the inventor of Kindergarten.
For the 2005 summer program, an invited writer - Sina Najafi
(Editor in Chief, Cabinet magazine)- selects three art
dealers to each choose an artist for a group exhibition, with
the writer contributing a text.
Works by: Friedrich Fröbel, Jeannine Mosely, and Shea Zellweger
Selected by: Norman Brosterman (author, Inventing Kindergarten)
and Christine & Margaret Wertheim (The Institute for Figuring,
Sacred Wild curated by Suzi Gablik
May 25 - June 25, 2005
Sacred Wild will examine the way contemporary artists are drawn
to sacred images and are using them in their everyday life. The
six artists, based in Iowa, Virginia, and Illinois, incorporate
or address the trend towards investigating one's personal spirituality
over organized religious thought.
Artists: Jane Vance Siegle, David T. Hanson, Hank Foreman, Kathy
Pinkerton, Fern Shaffer and Othello Anderson
The exhibition proposes that the Nordic discourses on the subject
may have a value in the current international political climate
as well as highlights artworks that seem to contest this kind
of purposefulness. Ultimately intervening into the realm between
art and politics with the same ambivalence which is so prevalent
in the Nordic system.
Artists: Cathrine Evelid, Matias Faldbakken, Katja Høst,
Ulf Lundin, Jakob Kolding, Ketil Nergaard, Aleksandra Mir
Five Saturdays of Events: Each Saturday from Feb 12 to Mar 12,
apexart featured a performance-related activity: an all day line-up
of special guest speakers, premieres of TV ads of contemporary
artists, bands collaborating with video artists, a traditional
Afghan-food tasting performance, and other surprises.
This exhibition is about the meaning of a home, and a home within
our own selves. A home where existential reflections and anxieties
are accumulated through the dramatic events which characterize
Artists: Vito Acconci (New York), Krzysztof Bednarski (Warsaw,
Poland), Barbara Bloom (New York), Zvi Hecker, (Berlin/Tel Aviv),
Vittorio Messina (Rome, Italy), Anila Rubiku (Albania) and Micha
If the atomic bomb threatens total destruction,
the work in Building the Unthinkable then shifts attention
to its productive element. This exhibition examines contemporary
artistic and architectural production responding to an unlikely
Artists: The Center for Land Use Interpretation,
Gregory Green, Michael Light, Andreas Magdanz, Peter Marlow, Dominic
McGill, Beryl Korot and Steve Reich, World Power Systems and Young-Hae
Chang Heavy Industries
The 2004 Summer Exhibition presented an interruption of the typical
present to viewers. Cay Sophie Rabinowitz selected two gallerists
(Brian Butler and Henry Urbach) to each choose two artists whom
they do not represent for a group exhibition.
Henry Urbach selected Paul de Guzman and Wade Guyton.
Brian Butler selected Efrat Shvily and Liliana Moro.
O.K., America! aimed to initiate a process of reflection on the
ambivalent meaning of the "fingerprint" as a symbol
of modern society. The work reflected on control and surveillance,
identity and the freedom of artistic expression.
Artists: The Blue Noses Group, Daniele Buetti, Escape Group,
Kendell Geers, Ghazel, Elena Kowylina, Elke Krystufek, Oscar Muñoz,
The Future of the Reciprocal Readymade: The use value of art
reflected on the inability of art to empower anyone to do anything
about socio-politial issues, despite promises supported by institutions,
lending a largely unchallenged semblance of truth as well as the
trustworthiness of convention.
Artists and Collectives: The Atlas Group (New York / Beirut),
Grupo de Arte Callejero (Buenos Aires), The Yesmen (New York /
Paris), Critical Art Ensemble (USA), Bureau d'études (Paris),
AAA.Corp (France), xurban (New York / Istanbul)
Treasure Maps curated by Janine Antoni
February 11 - March 13, 2004
Treasure Maps exhibited images that represented visual
language in its broadest sense. Highly specialized technical illustrations
(DNA extraction, matrix and vector space) appeared alongside ambiguous
drawing-like records of physical movement, which allowed viewers
to explore, and in many cases invent, the internal logic of each
Participants: Earle Brown, Chitra Ganesh, Tim R. Riley, Michael
Schumacher, Elizabeth Streb, Vinzenz Unger
Adaptations curated by Craig Buckley
January 7 - February 7, 2004
Architecture and planning have often been privileged as sites
for utopian projection. Adaptations looked at small-scale
forms of independence, and the context in which they have emerged
to consider the potentialities they hold and the limits they encounter.
Artists and Collectives: Kim Adams, The Arnait Video Collective,
Gardar Eide Einarsson, Nils Norman, Ocean Earth, Michael Rakowitz,
Raqs Media Collective, Stealth Group, Oscar Tuazon and Dick Fischbeck
Looking Awry curated by What, How and for Whom, curatorial collective, Zagreb, Croatia
(Ana Devic, Natasa Ilic, Sabina Sabolovic and Ivet Curlin)
November 12 - December 20, 2003
Looking Awry dealt with aspects of repetition, re-actualization,
re-staging and re-enactments (as a form of change and a source
of knowledge) in relation to both history and contemporary political
investments of everyday life and popular culture.
Artists: Maja Bajevic, Igor Grubic, Aydan Murtezaoglu, Adrian
To Be Political It Has To Look Nice presented a series
of intersections and distinctions in current contemporary cultural
production from Latin America, featuring the work of over 35 artists
and collectives from 9 countries.
Artists: Armando Andrade, Fernando Bryce, B-Lo, Erick Beltrán,
Stefan Brüggemann, Miguel Calderón, Capacete, Carolina
Caycedo, El Chino Ediciones, Eduardo Consuegra, Galeria Chilena,
Mauricio Guillén, Helena Producciones, Larregui-Laguerre,
M777, Olho SP, Sebastián Ramírez, Pedro Reyes, Los
Super Elegantes, Javier Téllez, El Vicio
Playing with a Loaded Gun: Contemporary Art in Pakistan
featured work by 11 artists who explore the dichotomy of life
in Pakistan, taking the nation's most difficult social, cultural,
and political issues and examining them in beautiful and playful
Uncovers the many layers of the copy by looking at artists that
either work directly from a reproduction or reproduce their own
work. In both systems of production, the image is transformed
in the artist's interpretation. The finished products deliberately
never look like the source being copied.
Undesire curated by Vasif Kortun
April 18 - May 17, 2003
Is it too romantic to treat an exhibition like a space of representation?
Undesire articulates its curator's inability to be present
in today's United States of America at war and the works echo
the tensions and emotions that are created during a relationship
Artists: Phil Collins, Fikret Atay, Inci Eviner, and Dan Perjovschi
Realizes an environment for information exchange of the many
pertinent issues in the world today that are not being discussed
by mainstream media. This idealized total resource system facilitates
the dispersal of relevant information through the works by the
Artists: Ross Birrell, Jakob Boeskov, Steven Duval, Gardar Eide
Einarsson & Oscar Tuazon, Regina Moller, N55, John Pilger
Inspired by the Grace Paley short story by the same name, the
exhibition An Interest in Life combines artworks demonstrating
a liveliness that avoids art world hermeticism and encourages
understanding through their plain spoken nature.
Artists: Brienne Arrington, Erin Cosgrove, Micol Hebron, Jen
Liu, Jennifer Nelson
in the City curated by Jill Dawsey and Melissa Brookhart Beyer
January 4 - February 1, 2003
Walking in the City examines the work of a younger generation
of artists and highlights the way they engage with the historic
strategies of resisting and negotiating regulated space developed
by an older generation.
Artists: Valerie Tevere, Simon Leung, Kim Soo-ja, Valie Export,
Yayoi Kusama, Adrian Piper, David Wojnarowic, Alex Villar
sans an exhibition consists of five weeks of disparate
programming, with each day scheduled by a different artist, writer,
Programmers: Uthit Animana, Elaine Bowen, Matthew Buckingham,
Mary Ellen Carroll, Mary Ceruti, Alicia Chillida,Paul Clay, Dean
Daderko, Dennis Elliott, Heather Felty, Melissa Pearl Friedling,
Charles Goldman, Christopher K. Ho, Moukhtar Kocache, Carin Kuoni,
Jenny Perlin, Allison Peters, Mira Schor, Mari Spirito, Greg Williams
and YYZ Artists' Outlet
Second Glance part of 222-2002 organized by Sara Meltzer
July 16 - 31, 2002
Two gallerists each selects two artists whom they do not represent
and who have not had meaningful exposure in New York for a two
week exhibition. This year, artist and independent curator Omar
Lopez-Chahoud has selected Chelsea Gallery Directors, Anton Kern
and Sara Meltzer to act as curators for the 222 program.
Stardust part of 222-2002
organized by Anton Kern
June 21 - July 10, 2002
Two gallerists each selects two artists whom they do not represent
and who have not had meaningful exposure in New York for a two
week exhibition. This year, artist and independent curator Omar
Lopez-Chahoud has selected Chelsea Gallery Directors, Anton Kern
and Sara Meltzer to act as curators for the 222 program.
Public Key curated by Angeline Scherf
May 15 - June 15, 2002
Does art always have to be explained, documented, mediated, exhibited?
Will the artists of a transparent society have to submit to the
rules of social control and the logic of marketing? The exhibition
seeks to demonstrate that art strategies based on invisible, secret
and encrypted proposals are now emerging within the informational
Artists: Philippe Blanc, Dr. Brady, Cercle Ramo Nash, Florian
Faelbel, Richard Kongrosian, Alexandre Lenoir, Martin Tupper,
The Passions of the Good Citizen considered the
desires implicit in consumer choices and how media and advertising
drive those desires. The artists in the exhibition subvert,
challenge, and in some cases succumb to the marketing methods
so successful in advertising.
Artists: Michael Bevilacqua, Claude Closky, Jenny Holzer,
Kristin Lucas, Ester Partegas, Juergen Teller, Carey Young
An exhibition considering connections between beauty and health/healing.
Work by Joe Ben, a New Mexico Navajo Indian, who heals people
through traditional sandpainting; Cai Guo-Qiang, a Chinese artist
living in New York, whose work reflects traditional Chinese medicines;
and Gera and Gedewon, two Ethiopian scholars who make talismanic
paintings to cure their patients.
Artists who have subverted the original purpose of certain machines,
technology, and objects of everyday use. Using materials intended
for industrial applications and assembly-line economy, the artist
designs for them a new function: to produce unique sounds and
Artists: Ruth Anderson, Ken Linehan, Kaffe Matthews, Andrea Polli,
Scanner and Katarina Matiasek, Laetitia Sonami
The exhibition borrows its title from the renowned image by Man
Ray that shows the door in Marcel Duchamp's apartment in New York,
which opens a space and simultaneously closes another one and
its reverse - evoking the notion of fluidity and confusion between
the realms of the public and the private.
Artists: Vito Acconci, Antoni Abad, Muntadas, Chris Marker, Francis
Alys, Christian Jankowsky, Andreas M. Kaufmann, Otto Berchem,
Roland Boden, Mark Formanek, Begoña Muñoz, Gillian
222-2001 curated by Annie Herron and Larry Walczak
July 18 - July 28, 2001
Two New York based artists: Sante Scardillo, who confronts the
impact of advertising on social behavior by ‘hijacking’
advertisements, and Amy Kao, whose mylar works are explorations
of perceptual emergence achieved through light.
222-2001 curated by Derek Eller
June 27 - July 14, 2001
Two artists concerned with personal existence within a broader
context and rediscovering the familiar. LeCuyer mines his subconscious
to discover original form; Wesselo alters his vantage point to
discover new things about both the landscape and himself.
Since the Readymade of Marcel Duchamp "objets trouvés"
are an important issue in modern and contemporary art. But what
about the things lost? The exhibition tells us, in a few extraordinary
examples, about loosing and finding.
Artists: George Brecht, Stanley Brouwn, Marcel Broodthaers, Henning
Christiansen, Maria Eichhorn, Romuald Hazoumé, Gülsün
Karamustafa, Alison Knowles, Kim Sooja, Serge Spitzer
Byrne selected 20 news photographs to represent a documentation
of a sort of choreographed performance - a dance of politics.
Images were enlarged to 17 x 24 inches and printed on newsprint
paper in black and white.
Artists: Jose Caruci, Jim Gleason, David Handschuh, Harry Hamburg,
Srdjan Ilic, Laura Pedrick, Joe Petrella, Humberto Pradera, Susan
Regan, Andrew Savulich, Apichart Weerawong, Andrew Wong
Forty artists from around the world were invited to design a
house in response to issues involving the representation of utopia.
Artists: Francis Alÿs, Stefan Bruggeman, Mariana Bunimov,
Minerva Cuevas, Stan Douglas, José Gabriel Fernández,
Alicia Framis, Carlos Garaicoa, Alexander Gerdel, Liam Gillick,
Dan Graham, Jeanne Van Heeswijk, Jose Antonio Hernández-Diez,
Proyecto Incidental, Gabriel Kuri, Atelier Van Lieshout, Diana
López, Mauricio Lupini, Rita McBride, Carlos Julio Molina,
Claudio Perna, Paul Ramirez-Jonas
An examination of artists who create simple machines not as artwork,
but to assist them in making their work, using mechanical practices
that were in existence long before photography or the computer.
Artists: Polly Apfelbaum, Torie Begg, Yvette Brackman, Ann Chu,
Tim Clifford, Reed Danziger, Deborah Davidovits, Matt Harle, Klindt
Houlberg, David Ireland, Richard Jackson, Micah Lexier, Gerhard
Mayer, Kathleen McShane, Helen Mirra, Gay Outlaw, Roxy Paine,
Joyce Pensato, Jack Pospisil, Richard Rezac, Tom Sachs, Joe Scanlan,
Bob Seng, Michele Valerio, Allan Wexler
Looks at the individual ways in which creativity is directly
and powerfully propelled in response to a life-altering moment,
experience or event and explores the ways in which different media
can be used to create highly personal auto-portraits while simultaneously
providing a testament to our shared autobiography as human beings.
Artists: Greg Bordowitz, Ximena Cuevas, LeAlan Jones and Lloyd
Newman with David Isay of Sound Portraits Productions, Chris Sullivan,
Chinese Whispers curated by Branka Stipancic and Ana Devic
October 11 - November 11, 2000
Chinese Whispers focuses on different modes of communication
techniques via such issues as the artist’s position within
a system of specific values, language as such, misunderstand-ings,
absurdity, irony, etc., all in light of an Eastern European context.
Artists: Kai Kaljo, Ivana Keser, Vlado Martek, Dalibor Martinis,
Roman Ondak, Tomo Savic-Gecan, Mladen Stilinovic, Slaven Tolj,
Goran Trbuljak, Sislej Xhafa
Explores how select artists reveal, defamiliarize, or create
manifold language systems in and through different media, featuring
artists who collide words and images into disarray only to reveal
a structure and texture of particular language systems.
Artists: Janet Cohen, Andrea Ray, Kay Rosen, Mark Lombardi, JonMarc
Edwards, Rie Hachiyanagi
block curated by Ute Meta Bauer
March 15 - April 15, 2000
A project developed through a seminar where participants developed
two kinds of constructions: individual projections of New York
City and a prefabricated structural system.
Coordination: Christiane Erharter Workshop: Yvonne P. Doderer
Participants: Angelika Bartl, Monika Blaschke, Pirmin Blum, Sandro
Droschl, Christiane Erharter, Andreas Fogarasi, Ulrike Griessmayr,
Kristina Haider, Andre Krammer, Stefan Malicky, Wolfgang May,
Matthias Mayr, Wolfgang Meisinger, Yves Mettler, Matthias Meyer,
Karl Spoerk, Martina Steckholzer, Gabi Sturm, Nikola Winkler
On October 20, 1999, we found out that our next show would be
postponed. We asked Charles Long to loan us a work of his choice.
We asked the Paula Cooper Gallery to loan us a Donald Judd of
their choice. Then we asked four writers to deal with this juxtaposition/situation.
Writers: Ingrid Schaffner, David Robbins, Carolee Thea, Dorothy
The history of 291 Church Street, the building that houses
apexart, is both typical of Tribeca loft buildings and unique
in its historical usage by artists. This show presents work
that addresses and reflects this history.
Artists: Arthur Cohen, Carrie Cooperider, Josiah McElhenny,
Margaret Morgan, Repo History, Haim Steinbach, David Wells,
A diverse selection of works articulates the vast networks that
impel production, and the interactions that affect what is produced.
Ultimately the constant collision and convergence of productive
contexts affects what art is and what it can be.
Artists: Dennis Balk, Bernadette Corporation, ChanSchatz, Stephen
Hendee, Gareth James, Daniel Pflumm
During the last 30 years, a certain interest, in questions of
failure and impossibility,divergent from the various Modernist
explorations of such, has emerged on the art scene. The artists
in "Arrested Ambition" willingly take on such questions
and explore very personal and small-scale yet resonant examples
of this anxiety.
Artists: Michael Smith, Art and Language, Sheila Pepe, Olaf Westphalen,
Street Theater curated by Hou Hanru and Evelyne Jouanno
April 22 - May 22, 1999
Exhibits the innovative work of Beijing based architect Yung
Ho Chang created in response to the massive urban expansion in
contemporary China. Also presents an installation that allows
viewers to more directly experience the vision of his projects
abroad and the ideals behind them.
Mixology curated by Dave Hickey
March 18 - April 17, 1999
When faced with the dilemmas of curating, a critic selects an
artist whose work he is drawn to but does not understand. She
in turn presents hybrid objects that the curator believes embody
the high stakes bartending (the science of mixology) of artmaking.
Actual Size curated by Nancy Princenthal
February 11- March 13, 1999
The title refers to the relativity and instability of scale and
the linear, physical systems by which we gauge time, distance,
space. Five artists engage this woozy immeasurability and home
in on the soft spots between fact and memory, linearity and wishful
Artists: Mary Ellen Carroll, Heide Fasnacht, Kim Jones, Loren
Madsen, Rebecca Quaytman
We are not avoiding the objects in this show; instead, they are
avoiding the way we only see them as a mean to a human end. They
refuse to be incorporated in our rational systems of classification
and want to be seen, caressed and listened to.
Artists: Merijn Bolink, Mary Carlson, Jan Fabre, Ann Hamilton,
Job Koelewijn Donald Lipski, Ann Messner, Cornelia Parker, Man
Ray, Maria Roosen and David Tudor Merijn Bolink
Harriet Craig curated by David Rimanelli
November 19 - December 19, 1998
Presents work along the themes of domesticity, femininity and
the underbelly of potential madness in both, derived from the
1950 Joan Crawford film, "Harriet Craig," in which Crawford
portrays a high-bourgeios woman who looks to have it all but ultimately
collapses under the weight of her own neuroses and fears.
Artists: Alex Bag, John Boskovitch, Chivas Clem, Martha Rosler
and Christopher Wool
Conceived in regards to the shifting realities of life in the
former USSR, the show presents eight artists whose work addresses
realities from the recent past and offers various perspectives
on the assimilation of time into consciousness and the expression
of that process through art.
Artists: Nora Fisch, Leandro Katz, Ilya Kabakov, Oliver Nikolich,
Michael Schwab, Ana Tiscornia, Guram Tsibakh
Condenses three artworks into a comprehensive image, which deals
with the existential subjects of being human. The only artistic
medium in all three contributions being real people, it tells
the story of life and death and simultaneously illustrates that
these subjects are often taboo, both in art and in life.
Artists: Tracey Emin, Noritoshi Hirakawa and Pierre Joseph
The notion of networks or circuits extend into public and private
realms, touching on themes as diverse as surveillance, music and
archeology. Works by six international artists use diverse means
to explore the vast yet personal set of relationships that structure
behavior and knowledge.
Artists: Mira Bernabeu, Heath Bunting, Daniel García Andujar,
Juan Fernando Herrán, Jan-Peter E.R. Sonntag and Eulàlia Valldosera
Selections from the private collection of Collier Schorr. The
curator/collector investigates the ways in which a collection
defines and represents its maker.
Artists: Harry Callahan, Gregory Crewdson, Sue de Beer, Patrick
Demarchelier, Mark Dion, John Dogg, Nicole Eisenman, Mitch Epstein,
Tim Gardner, Felix-Gonzalez Torres, Gary Hume, Karen Kilimnik,
Silvia Kolbowski, Fran Lebowitz, Mark Morrisroe, Daniel Oates,
Jack Pierson, Richard Prince, Thomas Struth, Wolfgang Tillmans,
Eric Weeks and Gary Winograd
A video essay uses primary footage to document the stories, challenges
and acheivements of the women who, in the 1970s, attempted to
transform the underlying tenets of fine art of fine art beyond
terms dictated by a sexist ideology. Includes over 100 visual
Looks to move beyond the binary terms of Abstract Expressionism
and ask whether there are other structural principles for contemporary
painting beyond the gesture and the grid. One proposal for an
alternate structure is the human body in its contigent experiences
of knowledge, memory, and perception.
Artists: Eve Aschheim, Bruce Conner, Elena del Rivero, Simon
Frost, Mark Greenwold, Bill Jensen, Jasper Johns, Margrit Lewczuk,
Ann Mikolowski, Giorgio Morandi, Catherine Murphy, Martin Noël,
Blinky Palermo, Jürgen Partenheimer, Charles Seliger, Mark Tobey
and Richard Tuttle
Oppenheim presents the work of a peer in the conceptual art movement,
Howard Fried. Using film, installation, and performance, the work
delves without hesitation into the deepest and darkest problems
of art-making, constantly questioning and prodding the territory
in which he worked.
After modernism's disavowal of the referential and the narrative,
contemporary art sees the return of narrative tropes and of the
artist as raconteur. The works in the show illustrate some of
the mulitude of ways in which artists are reinterpreting and restructuring
literary and illusionistic devices.
Artists: Bonnie Collura, Aki Fujiyoshi, Anna Gaskell, Johnna
MacArthur, Alix Pearlstein, Georgina Starr, Sergio Vega and Kara
Borrowing the title phrase from Emily Dickinson, the exhibition
presents work that blurs medium boundaries, the result of which
is an understated and effortless ability to slowly reveal different
dimensions existing within the pieces - metaphor, materiality,
Artists: Ayse Erkman, Karin Sander, Roman Signer, Mikolaj Smoczynski
and Ken Unsworth
Colorflex curated by Raphael Rubinstein
May 29 - June 28, 1997
At the height of an art of "identity politics," the show brings together eight abstract painters who, carrying on the precedent of the likes of Beckmann, de Kooning, Bonnard and Joan Mitchell, revel in color and form for its phenomological, emotional and formal reverberations.
Artists: Norman Bluhm, Richmond Burton, Jan Frank, Shirley
Jaffe, Jessica Stockholder, George Sugarman, Stanley Whitney
and Holly Zausner
A group of works from around the world deal with the consequences of poststructuralism, identity politics and globalization on personal, "real" levels. They offer no resolution to the ideas and experiences they present, but only distill and observe the inconclusivity of experience.
Artists: Christine Borland, Annika Eriksson, Douglas Gordon/Rirkrit
Tiravanija, Renée Green, Henrik Håkansson, Carsten Höller, Matts
Leiderstam, Olaf Nicolai, Ann-Sofi Sidén, Jaan Toomik, Gitte Villesen
and Elin Wikström
Explores the relationship between the representative space of the landscape image and the introspective, self-referential space of the ornamental image. Suggests a continuity between the two but emphasizes the pleasure impulse behind the ornament.
Artists: Ann Agee, Helen Berggruen, Robert Berlind, Richmond
Burton, Vija Celmins, Peter Hristoff, Neil Jenney, Ellen K. Levy,
Georgia Marsh, Doug Martin, Ann Messner, Alison Moritsugu, Michael
Norton, Jules Olitski, Harriet Shorr and John Torreano
SLAD curated by Mary Jones and Janice Krasnow
February 13 - March 15, 1997
Emphasizes the engagement of the Unconscious, its linguistic structure and its occasional slips into conscious behavior as a darkly comic taskmaster of our daily actions. We are asked to consider the possibility of "the accident" as a metaphor for art - that odd state of mind which allows accidents to happen and have meaning.
Artists: Jean Blackburn, Jeanne Dunning, Rochelle Feinstein,
Allen Ruppersberg, Jim Shaw, Thomas Trosch and Lisa Yuskavage
Color Detour curated by Faye Hirsch
January 9 - February 8, 1997
Forced into a detour by the impossibility of obtaining an Andy Warhol "Do-It-Yourself," the curator brings together ten works that explore systems of image translation and the convergence of systems of information. The absent Warhol hovers among the works as the theoretical linchpin of the exhibition.
Artists: Manuel Alvarez Bravo, Viola Frey, Christian Garnett,
Katurah Hutcheson, Janice Krasnow, Matvey Levenstein, Suzanne
McClelland, Gerhard Richter, Carol Szymanski and Rémy Zaugg
Art that attempts to immobilize the power of intimidating graphics and packaging of mass consumer culture. The critique is made though by a seeming degree of tenderness; the objects are softened, humbled, and sentimentalized.
Artists: William Eggleston, Robert Gober, Hal Hartley, Michael
Hurson, Kevin Landers, Daniel Mahoney, Curtis Mitchell and George
Ceremonial curated by Barry Schwabsky
October 24 - November 23, 1996
Ceremonial presents eight works of art that together explore how the experience of color manifests itself through such diverse media as painting and video, writing and photography, or as a series of dialogues between iconicity and dispersion, body and clothing, sex and the sacred.
Artists: Diti Almog, Ghada Amer, Lucy Gunning, Soo Ja Kim, Joseph
Marioni, Bettina Rheims, Lawrence Weiner and Brenda Zlamany
Constructs a theoretical therapeutic context where TV acts as a prescribed remedy for both media withdrawl and oversaturation. CRC #1 builds an experience that gives us what we want from TV while evoking how it is working on our desires and our abilities to take in information.
Two anti-idealists produce perverse art-historical constructions that desublimate and reinvigorate the portrait and the female nude. However harsh the works are on first glance, Condo and Hartman work from humanist ideals.
Photography, sculpture and painting forgo the linear and the sequential for a fluidity of time, space and logic. Instead of being completely without order, the unifying factor among the seven artists is the simple license and will to break traditional dimensional boundaries and the resulting liberation of the work and the viewer.
Artists: Sally Apfelbaum, Richard Artschwager, Barbara Ess, Scott Grodesky, Fabian Marcaccio,
Jonathan Seliger and Daniel Wiener
Coming out of the historically-ignored South American movement of Concretism, contemporary Argentine art stakes out territory of material and affective intensity over a background of fluctuating ideologies. Despite an acute awareness of the problems of modernism, there remains an utopian will to continue an art of thought and carry the practice into the international context.
Artists: Fabián Burgos, Nicolás Guagnini, Graciela Hasper, Fabio Kacero, Raul Lozza, Jorge Gumier
Maier, Omar Schiliro and Pablo Siquier
All Dressed Up curated by Steven Rand
December 21, 1995 - January 27, 1996
Addresses the idea that history has been discredited by a young generation and its artists in favor of a self-referential process of validation. Works hint towards new parameters of "globalism" within which the self and its choices can be defined and articulated.
Artists: Scott Carpenter, Alix Lambert, Moriko Mori, Camille Norment and Wolfgang Tillmans
In the tradition of Proust, these artists prioritize empircal experience, personal memory and imagination over theory and formal concerns. The work highlights a new sense of subjectivity emerging in the mid-90s and the use of this sensitivity to bridge the gap between the outside world and the personal psyche.
Artists: Maureen Connor, Robert
Feintuch, Joe Fyfe, Maureen Gallace, Paula Hayes, David Humphrey,
Alix Pearlstein, Stephanie Rowden and Monique Safford
Presents work that searches for the "erotic other," eroticism veiled in banalities. Formally the work is harsh and impenetrable with hard lines and unmodeled color, invoking a protected but forceful sensuality.
Artists: Matthew Abbot, Jasper Johns, Andrew Lord, Lari Pittman, Kevin Sullivan and John Wesley
Three for Three organized by Jay Gorney -- Artist: Arnold Helbling
July 20 - 25, 1995
organized by Steven Rand -- Artist: Mark Pasek
July 13 - 18, 1995
organized by Bill Arning -- Artist: Daniel Levine
July 6 - 11, 1995
A presentation of the work of over 60 NYU studio art faculty. The diversity of the artists results in a broad range of conceptions of the art object, but the cohesion of the group and of the work illustrates a profound and ever-developing interest in what constitutes visual art.
The Uninvited curated by Stephen Westfall
March 11 - April 15, 1995
Three artists whose work shares no immediate formal concerns but each invokes an "uninvited" presence, residual of a past event, or anticipating a future happening. It is this knowing and uninvited presence that merges the quotidien and the poetic.
Artists: Bill Barrette, Rico Espinet and Brian Wood
Artists: Mary Beyt, David Deutsch,
Perry Greaves, Hal Hirshorn, Ursula Hodel-Streit, Bill Jensen,
Margrit Lewczuk, Will Mentor, Joan Nelson, Carl Plansky, Marc
Romano, Billy Sullivan, Katharine Umstead and Eric Wolf