Participating galleries:

Aeroplastics Brussels | Aidan Moscow | Albion London | Aliceday Brussels | Andersen_S Copenhagen | Asbaek Projects Copenhagen | Aschenbach & Hofland Amsterdam | Baronian-Francey Brussels | Bärtschi Geneva | Bernier/Eliades Athens | Bitforms New York | Bjerggaard Copenhagen | Blancpain Geneve | Bodhi Art New Delhi | Box Brussels | Brolly Paris | Brown London | Buchmann Berlin - Lugano | Bugdahn und Kaimer Düsseldorf | Carreras Mugica Bilbao | Cerami Couillet | Chinese Contemporary New York | Conrads Düsseldorf - Berlin | Crown Brussels | Cueto Project New York | D&A Lab Brussels | De Brock Knokke | De Villepoix Paris | De Voldère New York | Deweer Otegem | Diaz Madrid | Espai2nou2 Barcelona | Faurschou Copenhagen | Fiat Paris | Fournier Paris | Galerie 1900-2000 Paris | Galleri K Oslo | Geukens & De Vil Knokke | Giroux Paris | Godin Paris | Grimm Amsterdam | Grusenmeyer Deurle | Gutharc Paris | Hécey Brussels | Hoet Bekaert Gent | Hufkens Brussels | Hussenot Paris | In Situ Aalst | Insam Vienna | Invernizzi Milano | Jamar Antwerpen | Janssen Brussels | JGM Paris | Karpio San José De Costa Rica | Kleindienst Leipzig | Koraalberg Antwerpen | Krinzinger Vienna | Kudlek van der Grinten Köln | La Citta Verona | Le Borgne Paris | Lee London | Leo Koenig New York | Les Filles du Calvaire Paris - Brussels | Lia Rumma Napoli - Milano | Loevenbruck Paris | Lorcan O’Neill Roma | Maes & Matthys Antwerpen | Maruani & Noirhomme Knokke | Mauroner Vienna Max Estrella Madrid | | Meert Brussels | Mennour Paris | Minini Brescia | Moser Geneve | Mulier Mulier Knokke | Nelson - Freeman Paris | Nicolai Wallner Copenhagen | Nosbaum & Reding Luxembourg | Obadia Paris | Papillon Paris | Paviot Paris | Photo & Contemporary Torino | Pieters Knokke | Polaris Paris | Praz-Delavallade Paris | Rech Brussels - Paris | Regina Moscow | Rein Paris | Rolt Amsterdam | Ronmandos Amsterdam | Rubenstein New York | Rubicon Dublin | Rumpff Haarlem | Ruzicska Salzburg | Schmidt Maczollek Cologne | Sels Düsseldorf | Senda Barcelona | André Simoens Knokke | Stephane Simoens Knokke | Soskine Madrid-New York | Sparta Chagny | Stolper London | Svestka Prague | Szwajcer Antwerpen | Tache-Levy Brussels | Tanit München | Tarasieve Paris | Taylor London | Templon Paris | Thoman Innsbruck | Transit Mechelen | Triangle Bleu Stavelot |Tucci Russo Torre Pellice | Upstairs Berlin | Vallois Paris | Van Laere Antwerpen | Vanhoegaerden Knokke | Vidal Paris | Vilenne Liège | XL Moscow | Zander Köln | Zürcher Paris | Zwarte Panter Antwerpen

YOUNG TALENT :
1/9 unosunove Roma | AD Gallery Athens | Adamski Aachen | ADN Galeria Barcelona | Alice Brussels | Amaro Lisboa | Apartment Athens | Arquebuse Geneva | Art Agents Hamburg | Bischoff/Weiss London | Cortes Lisboa | Cortex Athletico Bordeaux | De Bruijne Amsterdam | De March Milano | Dependance Brussels | Desimpel Brussels | F A Projects London | Figge Von Rosen Cologne | Lynch New York | Gazon Rouge Athens | Grimm München | Groeflin Maag Zürich | Hauff Stuttgart | Hustinx Liège | Klemm’s Berlin | Levy Brussels | Low Gstaad | Mertens Berlin | Metis_NL Amsterdam | Milliken Stockholm | Mitterrand + Sanz Zürich | Mogadishni Valby | Motive Amsterdam | Low Gstaad |Parker’s Box Brooklyn | Rokeby London | Salon 94 New York | Scharmann Cologne | Skuc Ljubljana | Sutton Lane London | The Agency London | Vilma Gold London | Wentrup Berlin | Zwart Huis Knokke

FIRST CALL :
Cosmic Paris | Duvekleemann Berlin | Fruit and Flower Deli New York | Ibid Projects London | Jozsa Brussels | Luxe New York | Andreiana Mihail Bucarest | Office Baroque Antwerpen | Pollazzon London | Rotwand Zürich | Shugoarts Tokyo | Upstream Amsterdam | Van Zomeren Amsterdam | Klara Wallner Berlin

http://www.artexis.com/artbrussels/home.htm

Centre Pompidou 5 March to 2 June 2008

This March, the Centre Pompidou will be presenting the first extensive retrospective showcasing Louise Bourgeois’ work since the exhibition that the Musée d’Art Moderne de la Ville de Paris held in 1995. This retrospective has been organised with the London Tate Modern and will feature around 200 sculptures, paintings, drawings and engravings she produced between 1940 and 2007, with a special focus on the past decade and this 95-year-old artist’s knack for relentlessly rejuvenating her artistic language.

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Louise Bourgeois en 1990 avec sa sculpture en marbre Eye to Eye (1970). © ADAGP, Paris, 2008.
© Photo: Raimon Ramis, D.R.

 Exceptional people must be stage-managed in exceptional ways. 50 selected examples from our own collection provide a glimpse into the genre of glamour photography, which developed in the wake of the triumph of the film and the burgeoning star cult of the 1920s. The sweep of the exhibition encompasses figures such as Asta Nielsen, one of the first European film stars, to a series of portraits of Romy Schneider. The pictures include Arnold Genthe’s portrait of the dancer Isadora Duncan, Irving Penn’s celebrated photos of Marlene Dietrich and portraits of various actors by Lieselotte Strelow and F.C. Gundlach. From the Atelier d’ Ora-Benda, one of the focal points of the collection, comes a considerable selection of star portraits: Here you can see a radiant Maurice Chevalier, Marlene Dietrich in her youth, Josefine Baker and the Dolly Sisters posing for the camera.

Photo: Atelier Manassé (Vienna 1924 – 1936)
Lil Dagover (Madiun/Java 1887 – 1980 Munich-Geiselgasteig) Actress / Gelatine Silver Print / around 1930

http://www.mkg-hamburg.de

PULSE NEW YORK 08 EXHIBITORS
ARTWARE editions (New York), Jeff Bailey Gallery (New York), Galeria Baró Cruz (São Paulo), ANNE BARRAULT (Paris), Galerie Anita Beckers (Frankfurt), Bonelli Arte Contemporanea (Mantua), RENA BRANSTEN GALLERY (San Francisco), Catharine Clark Gallery (San Francisco), CONNER CONTEMPORARY ART (Washington, DC), CONRADS (Düsseldorf), DCKT Contemporary, Inc. (New York), DNA (Berlin), envoy (New York), Espacio Liquido (Gijón), FAURSCHOU COPENHAGEN & BEIJING (Copenhagen/Beijing), LUKAS FEICHTNER GALLERY (Vienna), Rosamund Felsen Gallery (Santa Monica), fiedler contemporary (Cologne), Finesilver Gallery (Houston), Enrico Fornello (Prato), Freight + Volume (New York), GALERÍA FÚCARES (Madrid), galerieKleindienst (Leipzig), Caren Golden Fine Art (New York), Carl Hammer Gallery (Chicago), GALERIE ERNST HILGER/ hilger contemporary (Vienna), Pippy Houldsworth Gallery (London), iCI (New York), Inman Gallery (Houston), Priska C. Juschka Fine Art (New York), KINZ, TILLOU + FEIGEN (New York), Bernhard Knaus Fine Art (Frankfurt), KNOLL GALLERIES (Vienna/Budapest), NATHAN LARRAMENDY GALLERY (Ojai), Richard Levy Gallery (Albuquerque), Lyons Wier Ortt Gallery (New York), Walter Maciel Gallery (Los Angeles), Magnan Projects (New York), nina menocal (Mexico City), Nicholas Metivier Gallery (Toronto), Yossi Milo Gallery (New York), Mixed Greens (New York), moniquemeloche (Chicago), Mark Moore Gallery (Santa Monica), magnus müller (Berlin), MUMMERY + SCHNELLE (London), New York Foundation for the Arts (New York), ALEXANDER OCHS GALLERY BERLIN | BEIJING (Berlin/Beijing), One in the Other (London), P.P.O.W (New York), Parker’s Box (Brooklyn), perugi artecontemporanea (Padua), Galerie Stefan Röpke (Cologne), Monya Rowe (New York), Rubicon Gallery Dublin (Dublin), Saatchi Online (London), Julie Saul Gallery (New York), Schroeder Romero (New York), Michael Schultz Gallery Beijing | Seoul | Berlin (Beijing/Seoul/Berlin), Carrie Secrist Gallery (Chicago), galleria SENDA/Espai 2nou2 (Barcelona), SPRINGER & WINCKLER GALERIE (Berlin), Galerie Tanit (Munich), Margaret Thatcher Projects (New York), Torch Gallery (Amsterdam), UNION (London), Virgil de Voldere Gallery (New York), Von Lintel Gallery (New York), Winkleman Gallery (New York), Galerie Zürcher (Paris)

info: http://www.pulse-art.com/

Man Ray: This 1916-17 photograph never ceases to amaze me.

French choreographer Maurice Bejart has died at the age of 80. Born on January 1, 1927 in Marseilles, Bejart — real name Maurice Berger — studied dance in London and Paris before becoming a leading avant-garde choreographer in the 1950s. His last work, “Around the World in Eighty Minutes,” is due to be premiered in Lausanne on December 20. In the course of his great career, Bejart directed stars such as Sylvie Guillem and Mikhail Baryshnikov.

His ashes will be spread on the seaside of Oostende, Belgium.

So Long Artist.

June 3rd - June 8th, 2008
12 p.m. - 9 p.m.
www.balelatina.com
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bâlelatina 2008. Press Release received.
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“The Place to Be for Latin Art”
Noted for its setting on the banks of the Rhine, bâlelatina, now in its third edition, follows two successful years and continues to be the only Latin Art fair to be staged in Basel, Switzerland during the annual art extravaganza. In its 2008 edition, balelatina, with its unique and international character, returns with an invigorating image and agenda, to show the hottest contemporary Latin Art trends, including the established art movements that have marked the path of Latin Art until today.

Like no other international art fair, bâlelatina is exclusive focusing on a cultural vision and concentrating on a universal Latin concept. bâlelatina’s Selection Committee will handpick contemporary and modern art galleries from European countries with Latin roots like Italy, Spain, France, Rumania and Portugal, as well as galleries from Latin America, the Caribbean and the United States. The selected galleries represent artists from these regions and offer an immediate overview of modern and contemporary LATIN ART.

Y OLE!
In what will become an annual tradition, Spain has been selected as the guest of honour during balelatina 2008. A section of the fair will be reserved for the five invited galleries who will showcase artists emblematic of Spain’s emerging art scene. In addition, a leading Spanish Cultural Institution will be invited to present six solo artist exhibitions curated by emerging Spanish curators.

HOT HOT HOT
This year, bâlelatina will be giving special recognition to different personalities from the contemporary Latin art world! The HOT Collector, HOT Curator, and the HOT Artist will be selected and rewarded during the fair. In what promises to become a yearly prestigious affair, fairgoers will also have a chance to partake in this unique selection by choosing the HOT Gallery from amongst the participating galleries.

Complimentary Events
A comprehensive lecture series by top professionals on Latin Art will be conducted during the fair in a comfortable setting on the banks of the Rhine. Happenings, Performances and Site Specific Urban Projects will complement balelatina’s 2008 art fair experience. bâlelatina will provide a great gathering point where collectors, art professionals and fairgoers will meet and enjoy in a relax setting.

His poems are free in form, receptive to rhyme and meter as the occasion serves and efficient at combining poetry and prose within the same poem. But words fascinate him and he expresses this with great variety and notable ingenuity. Unrelated words become bedfellows if they have sounds in common or if they differ in sound but somewhere have links in meaning.
Reviewed by Bob Williams

Review: Babble on to Babylon
by Blem Vide
PretendGenius Press 2004, ISBN 0-9747261-8-4, $11.95, 171 pages

This is an outsiders’ book. These poems – witty, irreverent and spiced with allusions drawn from many sources – will appeal to the patient and receptive reader. The audience for poetry is small and the special demands of Vide’s poetry will involve even fewer readers but those readers will find much in this collection to make their experience abundantly joyous. The reader should pay attention to the phrasing of the copyright notice, engagingly different. The cover, like all PretendGenius books, is very handsome and is mainly the work in this case of the author.

In one of Aldous Huxley’s novels a character becomes entranced with the phrase “Black ladders lack bladders.” Vide is similarly fascinated with this and all kinds of verbal play. His poems are free in form, receptive to rhyme and meter as the occasion serves and efficient at combining poetry and prose within the same poem. But words fascinate him and he expresses this with great variety and notable ingenuity. Unrelated words become bedfellows if they have sounds in common or if they differ in sound but somewhere have links in meaning. An example of the latter is in Vide’s ‘Serve the Creative Impulse, Idiots’ – a work in which poetry and prose live together happily – “And I want to be regarded as an Elvis Presley look-alike. On the double.”

When he does not make these unaccustomed combinations through sense or sound, he resorts felicitously to puns as in this example from ‘Rigva Raga Loop:’ “pomes never end/they just go republic.”

There are poems in which his fascination with sound sets meaning aside in favor of a personal language that cannot be construed.

“Agawon. I supter. Sun blackness.
‘On toma volute nagavini!’”
‘Ulahan the Latuganist’

There are two qualities in which Vide especially excels. He frequently addresses the reader directly and in ways that arrest the attention. He also plants within his poems sharp and witty observations that send the reader an electric jolt of pleasure and recognition.

“Not every house is
a limousine, but not every house can speak cottage.”

“This was my back porch before I stole it from the cops.”

“Vanity is nothing to
fear, unless you are intimidated by beauty.”

“if a taxpayer dreams
forest in the ocean
is there a gov’t to poison the world?”

“god never serves food
on good dinnerware
when we’re at the table”

The last quotation strongly recalls Emily Dickinson’s observation about God’s table being too high for us unless we dine on tiptoe.

‘Protecting Intellectual Property by Giving It Away Free’ also has its background, shadowy and suggested, of a writer familiar with Finnegans Wake. It has the same stubborn march and carefully plotted variety of the first thirteen pages of Joyce’s chapter six. If not done in the neighborhood of Finnegans Wake, it is an interestingly Borgesian coincidence.

This is a long book for a collection of poetry and it could have been better as a book if Vide had chosen fewer poems for some are notably better than others. But, as a documentation of a writer, with much accomplished and much still to offer, this is a selection that will acquire additional meaning and value as we have the felicitous opportunity of seeing more of his work.
To buy: http://www.amazon.ca/Babble-Babylon-Blem-Vide/dp/0974726184
From: http://www.compulsivereader.com/html/index.php?name=News&file=article&sid=774

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Cover designed by Stratos and the Writer

Vladimir Nabokov
(April 22, 1899, Saint Petersburg – July 2, 1977, Montreux)

Now, why am I posting about Nabokov out of the blue. Well, first of all it’s summer and I’m about to select some old-read books + buy some new ones for the holidays in some lovely Greek Island. While am at all this Nabokov came to mind as I stumled upon an old edition of a “Norton Reader” volume, looked under “literature and the Arts” and my eye caught this excerpt from a Nabokov’s lecture on literature(1980) where among other he declares that:

“Curiously enough, one cannot read a book: one can only reread it. A good reader, a major reader, an active and creative reader is a rereader…” .

I’m not going to go any further writing on this, as Nabokov dialectically develops his reasoning, this will take too much of my time and besides, this post is intended to stay short. I hope I made my point. It’s the heat of July…

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a Wikipedia photo of Nabokov

As my new work will probably be classified as a New Realism of some kind, though I dislike any classification, I am posting a few words on the whereabouts of this so-called movement…

From: a Centre Pompidou location

Nouveau Rationalisme, New Realism, was founded in October 1960 with a joint declaration whose signatories were Yves Klein, Arman, Francois Dufrêne, Raymond Hains, Pierre Restany, Daniel Spoerri, Jean Tinguely and Jacques de la Villeglé; in 1961 these were joined by César, Mimmo Rotella, then Niki de Saint Phalle and Gerard Deschamps.
These artists declared that they had come together on the basis of a new awareness of their “collective singularity”. For all the diversity of their plastic language, they did indeed perceive a common basis for their work, this being a method of direct appropriation of reality, equivalent, in the terms used by Pierre Restany, to a “poetic recycling of urban, industrial and advertising reality” (60/90. Trente ans de Nouveau Réalisme, La Différence, 1990, p 76).
Their group activity and the exhibitions they mounted together covered the period from 1962 to 1963, but the history of New Realism continued at least up until 1970, the year of the group’s tenth anniversary, which was marked by the organisation of large-scale events.
Much as this new awareness of a “collective singularity” was decisive, their grouping was clearly motivated by the intervention and the theoretical input of the art critic Pierre Restany. Being first interested by abstract art, he moved towards the elaboration of a sociological aesthetic after his meeting with Klein in 1958, and in large part the group’s theoretical justification was his.
The term Nouveau Réalisme (New Realism) was forged by Pierre Restany during an early group exhibition in May 1960. By returning to “realism” as a category, he was referring to the 19th-century artistic and literary movement which aimed to describe ordinary everyday reality without any idealisation. Yet, this realism was “new”, in the sense that there was a Nouveau Roman in fiction and a New Wave in film: in the first place it connects itself to the new reality deriving from an urban consumer society, in the second place its descriptive mode is also new because it no longer is identified with a representation through the making of an appropriate image, but consists in the presentation of the object chosen by the artist.
It is also thanks to Pierre Restany that New Realism was defended on the international scene in the face of an emerging American art form, Pop Art, and financially supported by a network of dealers and collectors.

up:Raymond Hains, Panneau d’affichage (Billboard), 1960
Torn posters on panel of galvanised sheet metal
200 x 150 cm

bottom: Yves Klein, Monochrome Bleu (Monochrome Blue) (IKB 3), 1960
Pure pigment and synthetic resin on canvas mounted on wood
199 x 153 cm