Tuesday, May 26, 2015

LMCollage aime ..un autre collage..

source: http://blocs.xtec.cat/mbardera/files/2009/08/cpariscollage1.jpg

Saturday, May 23, 2015

Zoë Gray about art trends: tired of participating?


Zoë Gray
Senior Curator, WIELS, centre for contemporary art, Brussels
Photo: Manuel Versaen


Zoë Gray

As Duchamp famously said, it is the viewer who makes the work of art. Our role as viewer is therefore of equal importance to the role of the artist. All works of art are thus participative, whether they require physical interaction or mental engagement. We have never been simply viewers. Koki Tanaka’s approach to participation is both open and generous. We can divide his recent work into two main tendencies: setting a group of people a common task and filming their way of working together; or proposing an open-ended, shared activity in which Tanaka also participates. Walking with Dogs (Rennes, 2014) is one of these latter works and was aimed at dog-owners and their dogs, but was also open to those of us without canine companions. The artist told the gathered walkers and hounds where we were going, and then we set off. When we arrived at our end point, there was no concluding statement by the artist and for all the participants our impressions differed as to what had just happened. For some of us, it was an artwork, for others it was simply a pleasant walk. For the artist, what was important was the moment we had shared, where the usually individual act of walking one’s dog became a collective march through the city, where a solitary action became an act of solidarity.

Friday, May 22, 2015

Sebastian Preuss about art trends: tired of participating?


Sebastian Preuss
Deputy Editor in Chief Weltkunst, Berlin
© ZEIT Verlag/Vera Rammen

Sebastian Preuss

Always more, always something new—that’s not only the case in art, but is the essence of capitalism. And if today we’re experiencing a period of increasingly hectic, increasingly greedy hyper-capitalism, then of course the carousel of purported new sensations is turning faster and crazier in art too. There’s no doubt about that. But the interesting question is: Does art have a chance of countering this development with a new slowness, with more persistence, and with less “innovation”—which the works usually aren’t anyway. I remain pessimistic, as long as art is determined by a completely overheated and unequally distributed market. Artists who want to survive can’t get out of the turbo-spiral. And we viewers—in other words, consumers—are merely children of our age. Fortunately there are a few isolated examples, albeit few and far between, outside of the bonfire of the vanities. And they’re what I’m looking for.

Thursday, May 21, 2015

Mareike Dittmer about : art trends: tired of participating?


Mareike Dittmer
Editor Frieze d/e, Berlin

Mareike Dittmer

Asking people to participate in art calls to mind Bartleby’s mantra “I would prefer not to.” If exhibitions are events that incorporate viewers like festivals of emotions yet also demand complicity, social compatibility, and maximum attention—then distance is my preferred alternative. However, the principle of evanescence as performance interests me a lot, although it, too, relies on participation in a social context. Perhaps this is because, as opposed to ephemeral installations and situations, calculated participatory spectacles allow for coincidences and thus produce an ambiguity dedicated to the moment. Ultimately, though, the question of the pros and cons of participation—like so many other things—can only be assessed based on a concrete work and for that particular work.

Wednesday, May 20, 2015

A Juried Exhibition Open to All Women Artists


A Juried Exhibition Open to All Women Artists

A.I.R. Gallery is pleased to announce the open call for CURRENTS, a timely and innovative biennial exhibition series. CURRENTS addresses contemporary issues that warrant expanded critical attention in the art world.
A.I.R.’s fourth presentation in the CURRENTS exhibition series will be curated by Anthony Elms, writer, Associate Curator at the Institute of Contemporary Art in Philadelphia, and the Editor of WhiteWalls Inc.

Do you hear what I hear?

Curated by Anthony Elms

Do you hear what I hear? is a question posed by one person to another. Behind Do you hear what I hear? is a request—hope—for a connection between individuals responding to their environment. Work in all media will be accepted, or listened to, even as listening is directly alluded to in the title. How do you listen? It depends on who you are. Current affairs routinely offer tragic examples of the many-sided responses to actions and events in the world at large. Recent books such as Rebecca Solnit’s Men Explain Things to Me and Claudia Rankine’s Citizen: An American Lyric, directly speak to race and gender in the American social sphere, and elucidate how both race and gender too often render many citizens unheard, unseen, and unattended to.
Respecting the varied ways races, genders, sexualities and classes interpret the world around us, let’s learn to listen to the stories, histories, and traditions of many. This is an open appeal, to ask, “Do you hear what I hear?” to fight the dismissals and silences, because something is happening, even if you aren’t always sure what it is.
March 17 – April 17, 2016
March 17, 2016 from 6-8pm
Anthony Elms is Associate Curator at the Institute of Contemporary Art in Philadelphia, and the Editor of WhiteWalls Inc. In 2014 he was a co-curator of the Whitney Biennial. At the ICA, his organized exhibitions include “White Petals Surround Your Yellow Heart,” and the upcoming “Christopher Knowles: In a Word” (with Hilton Als). His writings have appeared in Afterall, Art Asia Pacific, Art Papers, May Revue, and New Art Examiner, among other periodicals. He has also written essays for many catalogs. He has independently curated many exhibitions, including: “Sun Ra, El Saturn & Chicago’s Afro-Futurist Underground, 1954-61″ (with John Corbett and Terri Kapsalis); “Interstellar Low Ways” (with Huey Copeland); “Can Bigfoot Get You a Beer?,” and “A Unicorn Basking in the Light of Three Glowing Suns” (both with Philip von Zweck). Recent publications with WhiteWalls include Karen Reimer: Endless, Helen Mirra: Edge Habitat Materials, and John Miller and Richard Hoeck: More Alive Than Those Who Made Them. Trained as an artist, Elms has shown at Gahlberg Gallery (Glen Ellyn), Hyde Park Art Center (Chicago), Mandrake (Los Angeles), Mess Hall (Chicago), Randolph Street Gallery (Chicago), and VONZWECK (Chicago).


  • $35 for 3 images OR 1 video submission (additional images are $5 each, 6 image limit)
  • After May 21st, the submission fee will raise from $35 to $40.


  • All women artists, including self-identified women, may submit original works of art.
  • Painting, photography, prints, drawing, works on paper, new media, sculpture, mixed media, traditional or non-traditional materials are welcome.
  • There is no size limit on artwork.
  • Installations will ONLY be accepted if they are complete. NO PROPOSALS.


  • All accepted work must arrive at the gallery framed and/or ready to hang/install.
  • Work may be shipped ONLY via FedEx, UPS, or may be hand-delivered to A.I.R. Gallery.
  • Return postage MUST be provided for work.


  • Images
    • 72ppi, JPG, RGB files only.
    • Longest side of image must be 1000 pixels.
    • Each image may not exceed 1MB and 1000 pixels in any direction.
    • Images MUST be oriented properly (ex: top of the image is up).
    • File name MUST not include first or last name (remember this is a blind review).
  •  Videos
    • .MOV format only.
    • Videos may not exceed 3 minutes in length.
    • Videos may not contain title, text or the artist name.
    • File name MUST not include first or last name (remember this is a blind review).


  • You must fill in all fields and upload at least 3 images OR 1 video in order for your application to be complete.
  • Incomplete applications will not be reviewed.
  • Applications will be reviewed in SEPTEMBER 2015. Please DO NOT call the gallery about your application status.



Simon Njami about : art trends: tired of participating?


Simon Njami
Curator, Author and Art Critic, Paris
Photo: David Damoison

Simon Njami

We don’t have to participate. I don’t have to participate. Participating, for me, is a passive position. It means going with the crowd. It means being politically correct. The world is dying of this participation that leaves no room for controversy or discussion. When people say participate, they necessarily mean “doing something for the good cause.” Being part of the rightful. I don’t care. I want to be able to have my own opinion, even if it does not please the majority. I cherish the critical gaze that makes me different. What would be the world if everyone would be “participating”? All the totalitarian regimes were build on participation. When we read Orwell’s 1984 we see that those who don’t participate are immediately looked at as guilty, as troublemakers. I want to be a troublemaker. I want to have an opinion of my own. Instead of participating, I want to be acting.




new saint hilaire ?..communique de Presse NEW SAINT HILAIRE

Laurence Néron Bancel vous invite du 11 Juillet au 2 Aout 2015, à découvrir NEW SAINT HILAIRE, dans l'église du vieux Saint Hilaire,  lieu rebaptisé pour la durée de l'exposition.

Habitant New York la plus grande partie de l'année et revenant dans son pays d’ origine plusieurs fois par an, l'artiste était venue découvrir en visiteuse les expositions les années précédentes. Séduite par l’ambiance et l’accueil, elle relève le challenge d 'y exposer à son tour. A chaque nouvelle exposition, Laurence adapte son travail selon le lieu et les relations humaines. Avec New Saint Hilaire, l'idée est de faire se rencontrer les deux  mondes dans lesquels elle évolue, inspirée par New York et attirée par la région du Limousin.
Le lieu géographique, les habitants, le langage  ont nourri sa réflexion pour monter cette nouvelle exposition, installer les "happening” sorte de performance improvisée en fonction des rencontres, et faire écrire grâce à un atelier  de 3  jours encadré par une formatrice.
Tous les jours entre 15 et 19h, Laurence Neron Bancel ouvrira les portes de l’église et occupera l'espace en recréant son atelier.  Elle recevra le public, adultes et enfants, en les intégrant dans le processus de création en cours à ce moment et leur proposera d’assister ou de participer à différentes étapes de la création: élaboration d’un projet autour d’un mot identique en français et en anglais,   documentation, recherches de matières, atelier de découpage, de collage, et accrochage.

L’intérieur de l'église sera organisé comme les chapitres d'un livre :
-la préface correspond a l’accueil du visiteur en lui remettant une feuille de presentation de l exposition;
-les chapitres du livres étant l’espace exposition juste en entrant a droite et a gauche  puis au milieu de la nef une table ou se déroule l’assemblage; les 2 petites chapelles a droite et a gauche illustrant le thème du portrait avec une mise en scène pour se prendre en photo puis dans les traverses des grilles permettant l accrochage d’oeuvres réalisées sur place, ou peut être encore en cours...Le coeur sera réservé pour le repos, la méditation, la lecture.

Comme un livre de cuisine de bonnes recettes, les visiteurs seront  libres de choisir, juste feuilleter et regarder ou participer et faire.
A l’issue de l’exposition, un livre d’une vingtaine de pages aura été crée et réalisée grâce a tous les visiteurs.

Laurence Néron Bancel a choisi les collages comme mode d’expression. Depuis plus de 20 ans, elle  assemble, détourne, déchire, coupe, colle et reconstruit en utilisant tout ce qui lui tombe sous la main. A l’origine des papiers publicitaires mais aussi des objets trouvés, qui ont une histoire, un passé, à qui elle offre un avenir en ne les jetant pas. En parallèle de son activité créatrice, l’artiste est très impliquée dans le tissu associatif local et travaille comme guide dans deux musées centrés sur l’art américain: le Neuberger museum et le Whitney Museum of American Art . Une autre facette de sa personnalité est de découvrir des artistes, dénicher des galeries dans New-York et d’organiser des visites ou des tours guidés de foires internationales d’art comme l’Armory Show à New-York.

Régulièrement pendant la durée de l’exposition, un programme de festivités sera réactualisé avec  des activités en cours d'élaboration dont une nocturne et la participation à un concours de “mail art”. L’artiste vous invite à participer de manière active à la programmation d’événements en la contactant par email, par Skype, par courrier, ou auprès de Gérald Batissou à la Mairie de saint Hilaire les Places qui transmettra vos informations.
Cette programmation sera relayée par la presse et la radio et aussi par internet Facebook sur la page  New Saint Hilaire.

A très bientôt
Laurence Neron-Bancel
Courriel Laurenceneronbancel@gmail.com
Skype Laurencen-b
adresse: 5 Carriage House Lane Mamaroneck, NY 10543 USA

Tuesday, May 19, 2015

message from Patrick Bancel ..save the date


Join us for Art and drinks. 
Contemporary Artist Patrick Bancel presents " FLOW " New SCULPTURES and paintings collection. 
In positive psychology, FLOW, also known as zone, is the mental state of operation in which a person performing an activity is fully immersed in a feeling of energized focus, full involvement, and enjoyment in the process of the activity. In essence, flow is characterized by complete absorption in what one does.
Billboards Hacker will present new Art and big News about next soon coming up large scale mural.


THURSDAY MAY 21ST       6 -10 PM

Loft 40,   52 Webster Ave, New Rochelle NY 10801

RSVP & Inquiries: 

Nicolaus Schafhausen ...Answering the question: Art trends: tired of participating


Nicolaus Schafhausen
Curator, Kunsthalle Vienna
© Kunsthalle Wien 2014, Photo: Sabine Hauswirth

Nicolaus Schafhausen

Current art should definitely not leave us alone. It has the potential to open up discourse, to inspire us, to jolt us. If the means for this are in events, it’s because art has to compete for viewers’ attention. Whether it’s masses of information in times of digital communication, sporting events, sociopolitical developments, or other branches of culture—contemporary art and its makers vie with countless other offers for consumer’ attention. Effective, ostentatious art products geared to participation not only draw a lot of visitors, but are also reported on often. So the crux of the issue is what is expected of art today. It should entertain and be fun. At the same time, however, art can and should be uncomfortable. It should challenge viewers and give them food for thought. Even if at some point there is an oversaturation or art not longer lives up to its potential as aesthetic commentary and free criticism, this is only the case because it doesn’t leave us alone.

nice way to start EACH day:


Monday, May 18, 2015

Ayşe Erkmen ...Answering the question: Art trends: tired of participating


Ayşe Erkmen

One can be a viewer in a cinema, reader of a book, auditor to music... Visual art is particular and varied…, The art viewer never was just a viewer and being just a viewer has become less and less interesting in time… Art is varied in its form, material and location, there is no fixed material nor a standard medium, art's whereabouts can be anywhere: museum, gallery, city, countryside, sea, sky, etc.... Visual art can adopt the form of film, music, book, theater, its physical existence can be anything from paint to air… can be mistaken for not being art or being something else or being nothing. Therefore not participating and being a sole spectator is generally not in the nature of art anyway. But on the other hand there is a fabricated, instructed and studious style of art where the viewer is given the codes of participation and one knows exactly what to do. In this case it is up to the viewer to go along with the guidance or not. There opens a space where one can have the possibility of just looking and passing by or alternatively participating wholly or partly. At this point, participating wholly is a way of making sense of, understanding, and being content. It depends on the viewer whether he/she wants to be fulfilled and satisfied or the artist if he/she wants to please... or puzzle...

Sunday, May 17, 2015


The basic umbrella was invented over four thousand years ago. We have seen evidence of umbrellas in the ancient art and artifacts of Egypt, Assyria, Greece, and China.
These ancient umbrellas or parasols, were first designed to provide shade from the sun. The Chinese were the first to waterproof their umbrellas for use as rain protection. They waxed and lacquered their paper parasols in order to use them for rain.

Origins of the Term Umbrella

The word "umbrella" comes from the Latin root word "umbra", meaning shade or shadow. Starting in the 16th century the umbrella became popular to the western world, especially in the rainy weather of northern Europe. At first it was considered only an accessory suitable for women. Then the Persian traveler and writer, Jonas Hanway (1712-86), carried and used an umbrella publicly in England for thirty years, he popularized umbrella use among men. English gentleman often referred to their umbrellas as a "Hanway."

James Smith and Sons

The first all umbrella shop was called "James Smith and Sons". The shop opened in 1830, and is still located at 53 New Oxford Street in London, England.
The early European umbrellas were made of wood or whalebone and covered with alpaca or oiled canvas. The artisans made the curved handles for the umbrellas out of hard woods like ebony, and were well paid for their efforts.

Saturday, May 16, 2015

announcement for the Neuberger Museum

Please note and remember that we are having a Docent Recruitment event this coming Thursday, May 21st beginning at 10:30 a.m.
check out  https://www.neuberger.org/

Friday, May 15, 2015

I did it..I did paint this black circle..and I received a check of 20$ Tell me what you think: Should I cash it?


The Gavin Brown Enterprise's booth at Frieze. Photo: Courtesy of Marco Scozzaro/Frieze
Gavin Brown's booths tend to try harder to be interesting than most — and usually succeed. In 2013, Brown had horror-camp artist Bjarne Melgaard paint the walls of his Frieze New York booth magenta and fill its labyrinthe arrangement with heaps of neon fleece carpets that made it difficult to walk (sort of a "fuck you" to fairgoers in heels — but then again, the carpets were also for sale, at $12,000 each). In 2012, the booth's centerpiece was Rirkrit Tiravanija's Untitled (Kramer and Newman Make Sausage), a performance in which Brown and the actor Mark Ruffalo grilled sausages and offered them to passersby.
On May 13, the booth resembled something between a sweatshop and a day-care center as attendees who managed to snag a pass to the VIP preview clustered at four collapsible tables, pushing black acrylic paint into eight-inch-diameter circles on square-foot canvases. Attendants behind them used ladders to mount their labors in seven 50-by-50 clusters, each a small work that became part of a bigger one. For the labor, each volunteer willing to make Horowitz’s art for him was compensated with a check for 20 bucks.

Jonathan Horowitz with his work. Photo: @openingceremony
(Not that they were supposed to be cashed: Participants were mostly keeping the checks to be framed, as a Jonathan Horowitz piece. If you did decide to take it to the bank to exchange for an Andrew Jackson, Gavin Brown will see you cashed it and will either think you're punk-rock or a no-class cheapskate. Up to you to risk it.).....read more;

Lecteurs //lectrices ..one day..ecrivains another day?

Voici ma dernière chronique publiée sur le site de la revue numérique d'Aleph L'Inventoire
N'hésitez pas à envoyer votre texte à atelierouvert@inventoire.com


N’entre pas dans mon âme avec tes chaussures

Capture d’écran 2015-04-21 à 11.49.00Jusqu’au 25 mai, Sylvie Néron-Bancel vous propose d’écrire à partir du livre de Paola Pigani « N’entre pas dans mon âme avec tes chaussures » (Liana Levi, 2013). Vous pouvez nous envoyer vos textes à atelierouvert@inventoire.com. Une sélection sera publiée deux semaines plus tard. 
«  Un jour que Mine est affairée à préparer la promenade des enfants avec le curé, elle aperçoit cette très jeune mère, son corps qui ploie avec un nourrisson collé sur la hanche. Elle n’en revient pas, une mère si jeune, beaucoup plus jeune qu’elle.
Mine a vingt ans, pas de fiancé ni de temps à perdre. Elle a interrompu ses études de médecine à Bordeaux, s’est rapprochée de sa famille en Charente. La guerre n’a pas fait de trou dans sa vie. Tout est seulement en suspens. C’est ce qu’elle dit souvent. Et puis sa place est ici sur le réseau. Entre son nom de baptême, le surnom que lui ont donné les petits gitans et celui de ses camarades résistants, il lui semble avoir trois vies qui font le désespoir de ses parents. Des notables qui, depuis plusieurs générations ont planté sur le plateau d’Angoulême une réputation de gens bien, essentiellement préoccupés de bienséance, de bien-pensance et de succession. Mine leur donne du fil à retordre, depuis ses années au lycée Saint Paul. Elève brouillonne et brillante, elle n’a jamais su tenir sa place, ni lisser ses cheveux fous, ni sa jupe. Elle ne quitte jamais sa gibecière en toile usée que déforme souvent un livre de Bernanos ou de Marx.
Mine revient essoufflée de la promenade. Il a fallu surveiller les débordements, les rassembler, chanter, crier, les rassembler de nouveau. Le curé a menacé de renoncer à ces sorties si elles doivent se terminer ainsi en chasse aux fuyards. On a même vu des martinets dans les mains des gardiens. Mine, tout au long du chemin de retour, ressasse les gestes des gardiens, réfléchit à une nouvelle stratégie pour soustraire les enfants à leur rudesse et s’épargner les propos du curé qui la juge complaisante et désinvolte. »
Ce passage se trouve aux pages 151-152 du premier roman de Paola Pigani, N’entre pas dans mon âme avec tes chaussures (Liana Levi, 2013). Mine, étrangère à ses parents, fronde l’autorité des adultes et pose un regard tendre sur les jeunes manouches enfermés dans des baraquements, pendant la deuxième guerre mondiale. Elle tente de leur apporter un peu de gaieté et de sa liberté. Nous sommes en 1940, un décret interdit  la libre circulation des nomades et des roulottes. Trois cent cinquante Tsiganes de Charente et de Charente-Maritime sont internés au camp des Alliers, sous l’autorité du préfet et de la Kommandantur d’Angoulême, alors en zone occupée. Ici, Mine rencontre Alba, l’héroïne du livre, pour la première fois.
Paola Pigani s’est inspirée  de l’histoire d’Alexienne Winsterstein, grand-mère manouche,  qu’elle a rencontrée et qui a passé six ans dans ce camp des Alliers. Elle nous raconte le quotidien de cette communauté tzigane et plus particulièrement d’Alba. La jeune fille de quatorze ans va grandir au milieu des privations, des maladies, des confiscations – roulotte, chevaux, essence même de leur vie-, s’occuper de Maria, sa mère aveugle et de son petit frère né dans ce camp. Elle va traverser le deuil, découvrir la féminité, l’amour…. pendant  ces  six années.
Vous avez sans doute un jour dans l’enfance eu ce sentiment   de votre propre « étrangeté », ce sentiment de la différence, comme Alba ou comme Mine. Je vous suggère dans un premier temps de lister des premières fois où vous auriez ressenti cette différence. Ensuite,  choisissez dans cette liste un souvenir et dépliez-le en nous  parlant du lieu, du regard des autres, des silences qui accompagnaient ce sentiment, ce jour-là.
Vous pourriez nous envoyer ce récit, sans oublier que la page comptera au maximum un feuillet standard (250 mots ou 1 500 signes)…
Il y a d’abord ce titre magnifique qui fait référence au proverbe tzigane, On n’entre pas impunément chez les tziganes, ni dans leur présent, ni dans leur mémoire… C’est d’un pas léger que Paola Pigani y pénètre justement.  Il y a aussi cette couverture rouge, cette roue énorme, symbole de leur liberté, dont ils seront privés pendant six ans, qui est magnifique.
Au delà de ce fait historique peu relaté des Tziganes enfermés dans des camps, Paola Pigani fait entendre leur souffrance, leur silence, leurs rires, leurs pleurs, dans ce temps suspendu de la guerre. Fille d’immigrés italiens, elle nous dévoile dans le prologue sa rencontre avec les manouches dans la ferme de Charente où  était installée sa famille et  de l’accueil que réservait sa mère à ces gens du voyage. On sent que le lien s’est tissé à cet endroit-là.
Le ton de ce très beau premier roman est poétique, grave et léger comme le violon qu’on entend à plusieurs reprises. Il « grince, tambourine la patience ou extirpe une espèce de nourriture céleste » distillée à cette communauté tzigane mais aussi aux lecteurs. Paola Pigani, nouvelliste, poète,  fait danser, chanter  les mots autour de ces feux qui ne brûlent plus,  elle nous fait entrer à pas feutré dans l’âme des tziganes. On s’indigne, on pleure cette mère aveugle qui s’éteint de fatigue,  on s’émeut de ces amours naissants, on tremble lorsqu’Alma et  Silvère s’échappent du camp. Lorsqu’on  referme le livre, le regard sur ces gens du voyage, dont la dignité a été bafouée pendant la 2ème guerre mondiale, a changé. On attend avec impatience son deuxième roman.

Happenings @ the WHitney

This is a photograph of an event taking place this last Wednesday..
great funand a lot of success in the galleries,
here on the 7th floor in front of Lee Krasner's Seasons
Check out what 's happenings @ the still new Whitney..

photograph from Filip Wolak. 
 image are owned by Whitney
 and please credit Filip if printed! Thank you!

Wednesday, May 13, 2015

open studios ..in Westchester..save the dates ...

 white plains

May 16

Events – Open Studios

Upcoming Events

Open Studio

Jan Summers
Saturday, May 16, 2015
1:00 pm - 5:00 pm
Jan Summers Art Studio at the Arts Westchester Building, White Plains, New York/ Westchester
Handicap Accessible? Yes


Peekskill Open Studios

Celebrate and enjoy two full days of art, performances, music and food at the 18th annual Peekskill Open Studios. This event is part of ARTSEE.
Peekskill Arts Alliance
Saturday, June 6, 2015
12:00 pm - 5:00 pm
Downtown Peekskill, Peekskill, NY
Handicap Accessible? Yes

Peekskill Open Studios

Celebrate and enjoy two full days of art, performances, music and food at the 18th annual Peekskill Open Studios. This event is part of ARTSEE.
Peekskill Arts Alliance
Sunday, June 7, 2015
12:00 pm - 5:00 pm
Downtown Peekskill, Peekskill, NY
Handicap Accessible? Yes

more infos  https://artswestchester.org/events/categories/open-studios/

save the date LYON,,LA BIENNALE de LYON

08-09 sept.

guest curator
ralph rugoff
artistic director
thierry raspail

Please note
This year, the Biennale de Lyon is composed of three exhibitions:
- la vie moderne
Sucrière Musée d'art contemporain, Musée des Confluences

- ce fabuleux monde moderne
Le Plateau / Région Rhône-Alpes

- rendez-vous 15
IAC, Villeurbanne / Rhône-Alpes

And two platforms :
- Veduta and Résonance


Tuesday, May 12, 2015

opened May 9...still white?..I'm going...........to check out,....Yayoi Kusama...always inventing and creating...

David Zwirner is pleased to present Give Me Love, the gallery’s second exhibition with Yayoi Kusama in New York. On view in two spaces, 519 and 525 West 19th Street, will be new paintings from the celebrated My Eternal Soul series, new polka-dotted pumpkin sculptures, and the artist’s seminal installation The Obliteration Room from 2002.

Widely recognized around the world, with a recent survey of museum attendance ranking her as the mo.......

The exhibition marks the United States debut of The Obliteration Room, an all-white, domestic interior that over the course of the show is covered by dots of varying sizes and colors. In a departure from earlier iterations of the work, which have involved one or several rooms, the present installation is built like a typical, prefabricated American suburban house. As visitors are handed a set of stickers and step inside, they enter a completely white residential setting where otherwise familiar objects such as a kitchen counter, couch, and bookshelves are all painted the same shade. Gradually transforming the space as a result of the interaction, the accumulation of the bright dots ultimately changes the interior until it is eradicated into a blur of colors. A sense of depth and volume disappears as individual pieces of furniture, floors, and walls blend together.

check out David Zwirner 's website ... http://www.davidzwirner.com/exhibition/yayoi-kusama-7/?view=press-release

on view @ the Museum of the city of New York "The Birth of Hip Hop in New York" and special event this coming thursday

The Birth of Hip Hop in New York
Thursday, May 14 at 6:30pm

Photographer Joe Conzo, Jr. first began to document New York's emerging hip hop scene in the late 1970s as a high-school student in the Bronx. Back when hip hop was still a grassroots and localized culture, Conzo took pictures of many influential early groups and became the official photographer for the Cold Crush Brothers featuring MC Grandmaster Caz (Curtis Fisher). Join close friends Conzo and Caz as they sit down with scholar Dr. Joseph Schloss for a lively conversation about the fabled world of early hip hop, when DJs, MCs, and b-boys/b-girls waged epic battles in parks, school gyms, and neighborhood rec centers.
Co-sponsored by Hush Tours.


Free for Museum members; $12 for students/seniors; $16 for general public.

Monday, May 11, 2015


Aedh Tells of the Perfect Beauty

W. B. Yeats
O cloud-pale eyelids, dream-dimmed eyes,
The poets labouring all their days
To build a perfect beauty in rhyme
Are overthrown by a woman’s gaze
And by the unlabouring brood of the skies:
And therefore my heart will bow, when dew
Is dropping sleep, until God burn time,
Before the unlabouring stars and you.
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This poem is in the public domain.


Launched during National Poetry Month in 2006, Poem-a-Day features new and previously unpublished poems by contemporary poets on weekdays and classic poems on weekends.

Beef Jerkey in France?



3 ounces (85 g) 


 a propos de food..to give you an idea of bilingual humor...

sometimes being bilingual French and English...is a source of a good laugh

when we read..

Dinner is Served!

Come in and enjoy the finest vegan, vegetarian and gluten free meal you'll find in Westchester County. The Café at xxxx. We are thrilled to welcome our new Executive Chef and General Manager, Mrs de la Veaux aboard, sure to take our vegetarian dining experience to new heights!,,
translation? in english english 
it sounds like Mr Chicken would be our Vegetarian expert...

Tuesday, May 5, 2015

Press Review about the WHITNEY en francais JOURNAL LA CROIX


Le « Whitney », vaisseau amiral de l’art américain

Le musée new-yorkais a rouvert ses portes vendredi dans un bâtiment flambant neuf signé Renzo Piano.
New York
De notre correspondante
Qu’est-ce que l’art américain et comment définir sa place dans l’histoire des styles ? C’est la question que pose le Whitney Museum de New York depuis sa création, en 1931. Cette institution culturelle majeure est l’œuvre de Gertrude Vanderbilt Whitney (1875-1942), riche héritière et sculptrice – elle fut l’élève de Rodin – qui a donné une plate-forme d’expression aux artistes américains de son époque quand les canons de l’esthétisme étaient encore dictés par l’Europe. Cette grande mécène a acquis 500 œuvres en quinze ans, démarrant la plus importante collection d’art moderne et contemporain des États-Unis, qui compte aujourd’hui 22 000 pièces de plus de 3 000 artistes.
À 85 ans, le « Whitney » entre dans une nouvelle phase, en quittant la forteresse de béton de l’architecte Marcel Breuer, qu’il occupait depuis 1966 sur Madison Avenue, pour s’amarrer le long de la rivière Hudson, au bout de la High Line, la très populaire coulée verte du West Village. Avec ses multiples terrasses avec vue sur la rivière et la ville, le nouveau bâtiment de neuf étages de verre et acier imaginé par l’Italien Renzo Piano ressemble à un paquebot. Avec ses 20 500 m2 d’exposition, il double la surface du « Whitney », proposant même une salle modulable de 1 675 m2, sans la moindre colonne, au 5e étage : une prouesse de l’architecte. Les espaces d’exposition sont complétés par un auditorium de 170 places, un centre éducatif, une bibliothèque et un centre de conservation : une première pour l’institution.
Contrairement au Met, qui expose cinq mille ans d’art universel, ou au MoMA, qui donne une large place à l’art européen, le « Whitney » se limite à la création américaine des années 1900 à nos jours, montrée dans sa complexité et sa diversité. Le titre de l’exposition inaugurale, « America is hard to see » (L’Amérique est difficile à voir), résume cette mission. Elle présente, classés en six périodes, les artistes américains majeurs du XXe siècle. Ceux qu’a soutenus Gertrude Vanderbilt Whitney : les peintres Robert Henry et Edward Hopper, la photographe Berenice Abbott, le sculpteur et maître du mobile Alexandre Calder. Puis les expressionnistes abstraits des années 1950 : Willem De Kooning, Joan Mitchell, Jackson Pollock. Et encore Jasper Johns, Andy Warhol, Jean-Michel Basquiat, Jeff Koons, Richard Prince… Au total, 600 œuvres de plus de 400 artistes dans tous les genres, y compris les nouveaux médias.
« Ce bâtiment sera un endroit de découverte et de prise de risques. Ici, les artistes les plus importants, les plus exigeants et courageux de notre époque auront une présence constante », indique Adam Weinberg, directeur du musée. Pour atteindre cet objectif, le Whitney a levé 760 millions de dollars – dont 422 consacrés à la seule construction du musée – trouvés auprès de donateurs et sponsors. Cet argent financera les futures expositions, tout en permettant au Whitney de remplir sa mission : promouvoir et préserver l’art des États-Unis.