links for 2009-07-18   07.18.09

Art House Co-op | We build art projects and communities
We're a co-op of artists from all over the world that explores both the virtual and physical aspects of art.

Brooklyn Artist Swoon Invades the Venice Biennale on Boats Built From Garbage ( New York Magazine)
"This week, Swoon, a 31-year-old Brooklyn artist whose name is Caledonia Callie Curry, is leading a waterborne invasion of the Venice Biennale (she didnt bother to try to get in officially) with a crew of 30 artists, musicians, and miscreants in tow. Though they have raised some $150,000 for this crash party, the money wont show in the boats theyll travel in, because the boats are made of trash"a symbol of the freedom that comes with radical self-reliance, and one that is meant to effect change."
(tags: performance Swoon Venice.Biennale garbage New.York.City boats)

Author: Christopher Lynn, Executive Director
Category: Links

#DailyArtDose Round-Up   07.18.09

Week of July 13, 2009

The Future of the Institute of the Book:
Amy Casey:
Radical Nature at the Barbican Art Gallery:
the Think Tank that has yet to be named:
Eric Fleischauer:

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Author: Christopher Lynn, Executive Director
Category: #DailyArtDose

Naked Performance Art: always makes you wonder   07.18.09

When I met our upcoming artist-in-residence, Jií Survka (Ostrava, Czech Republic), I knew he would be a good fit at SPACES. Jií doesnt seem to be afraid to say whats on his mind, talk about difficult things, or be politically incorrect for the sake of strong ideas. Plus hes fun.

Weve been requesting images of Jiís recent work so that we can blast you with his amazingness and convince you to hang out with him and see his performance and exhibition this fall. You can see images of his work Massage de luxe from 2008 above (Jií is the guy standing over the painted body. He's kind of naked on top, too). It reminded me of a performance by Guillermo Gomez-Penas La Pocha Nostra: Mapa Corpo.

In both performances, the artist is a conductor, drawing responses and actions out of the audience. A body, somehow altered, becomes the focal point upon which visitors must act"this kind of engagement feels very powerful. I havent yet had an opportunity to discuss this work with Jií, but I do know that the body acted upon in Mapa Corpo was a female. For me, this brings up age old questions: When talking about misrepresentations of women, ignorance about cultures, sexism and colonization, does it help to use womens bodies? Does it move us forward? Especially if the director is a male? Im not trying to make generalizations, or critically judge either of the artists Ive mentioned. Im putting this out there to see what you all think---are there other performances where youve thought about these issues? What kinds of resolutions have you come to? Have you engaged with the performance and participated in some kind of action? How did it transform your experience and understanding of the work?

Ill be talking more about Jií as we prepare for his arrival in early August. And Im excited to tell you tales of his residency during the coming months. Its gonna be CRAZY!

Posted by Sarah Beiderman, Manager, SPACES World Artist Program

Author: Christopher Lynn, Executive Director
Category: General

links for 2009-07-16   07.16.09

Fourth plinth (
"Adrian Searle: In asking the public to interact around the fourth plinth, Gormley invokes a rich tradition of living art."

Author: Christopher Lynn, Executive Director
Category: Links

links for 2009-07-15   07.15.09

Ed Winkleman on Opening an Art Gallery (Recession Be Damned) (
"With an emerging program of wholly unknown artists it takes three to five years for that business to become profitable. If you are more or less going to be struggling during that time regardless of what the economy is doing, and you have an eye toward the economy improving in a few years, you can imagine that your name recognition is going to start rising when people are going to start buying again. Whereas if you wait, you will be starting at ground zero on the name-recognition end of it and playing catch-up when a whole bunch of other people are trying to get into the game."

Is the art at the Walker stupid? Who gets to decide?
"On the other side of the argument is the idea that his opinion is completely uninformed and while hes entitled to his opinion, hes not entitled to be taken seriously. There are subjective (I liked/hated it) and objective (the artist did/didnt meet their stated objective) ways to critique art. Youll probably have a better experience of the art if you do a little reading or take advantage of the many tools that museums in general and the Walker in particular provide for you to learn about what youre looking at. And if you still dont like it, youll be better able to state why."
(tags: museum art.criticism Walker.Art.Center opinion)

Author: Christopher Lynn, Executive Director
Category: Links

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