Harm van den Dorpel online exhibition “Dissociations” via the New Museum – New York City

May 30th, 2013 by

Harm van den Dorpel, [a]* – Digital archival print, glass, pigments, synthetic resin, whiteboard marker. 70 × 100cm, courtesy of the New Museum and the artist

May 2013 – ongoing

The New Museum is pleased to present Harm van den Dorpel: Dissociations, an online exhibition. How can an artist’s work be represented online? Possibilities run the gamut from the “white cube” aesthetic donned by gallery websites to the more free-form, anarchic expressions of a Tumblr page, or a simple, home-brewed interface. Through such projects, we can generally see the work in some form (whether sculpture, video, or a Firefox plug-in) as well as what an artist persona looks like online (as opposed to say, that of a corporation). We can even approximate what an artist’s brand might be amid the digital swell of marketing and self-presentation (for instance, evasive user interfaces instead of clean, user-friendly ones). In more experimental modes—think collectively built archives or an artist’s blog that doubles as a public sketchbook—artist websites flout individual authorship and singular finished products that are closed to the public. And yet the question remains of whether it is possible to evince more than the artwork itself, to reveal the whole practice: the research, the influence, and what it’s like to make work over time.

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Lily van der Stokker in “NYC 1993″ exhibition at the New Museum – New York City

February 10th, 2013 by

Lily van der Stokker, image courtesy of the artist

February 13 – May 26, 2013

The New Museum is pleased to present NYC 1993 – Experimental Jet Set, Trash and No Star, a major exhibition featuring over seventy-five artists, including Lily van der Stokker. Examining works made or exhibited in New York City twenty years ago, “NYC 1993″ looks at art made and exhibited in New York over the course of one year, providing a synchronic panorama in which established artists and emerging figures of the time are presented alongside the work of authors whose influence has since faded from the discussion. Centering on the year 1993, the exhibition is conceived as a time capsule, an experiment in collective memory that attempts to capture a specific moment at the intersection of art, pop culture, and politics. “NYC 1993: Experimental Jet Set, Trash and No Star” will be on view at the New Museum from February 13-May 26, 2013.

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Constant Dullaart event for Rhizome at The New Museum – New York City

May 23rd, 2012 by

Thursday, May 24, 2012, 7pm

During this event, Constant Dullaart (b. 1979, the Netherlands) will release a new series of works as a response to new Terms of Service conditions of several internet services. Publicly interacting with manipulated versions of previously existing, online spaces, Dullaart shows works in which he reframes ways of dealing with representation. Recent political changes have forced us to reconsider our position within the online environment. And through creating new performative spaces, Dullaart finds ways through which the audience, private and public, can perform outside of and question the new and existing boundaries of the World Wide Web.

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JODI mobile app premiere and performance at Rhizome / New Museum – New York City

February 9th, 2012 by

Friday, February 10, 2012, 7pm

“mobile app/study
new poses /app
gesture self /portrait
stick figure you /****
new mobile ape /script
mobile while waiting/” —JODI

At this event, renowned Dutch collective JODI will premiere a new mobile application, outfitted for iPhone and Android, that is invested in “Motion/ Figure/ Posture Actions.” The application records users’ quotidian movements and turns them into choreography—one that captures our awkward, mundane, frustrated, addicted interactions with our ubiquitous devices. This focus on dynamics of control, as well as the psychology and behavior produced by technology, is at the core of JODI’s work. For this presentation, the collective will present and discuss the work, while hired performers will enact its choreography.

New Museum Theater
235 Bowery
New York, NY 10002
Tel.: 212-219-1222

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Architect’s Newspaper review of Rem Koolhaas’ Cronocaos show at New Museum

June 2nd, 2011 by


Date: June 2, 2011

Source: Architect’s Newspaper

News item: Review of Rem Koolhaas’ Cronocaos show at the New Museum

Intro: Perhaps no architectural manner has become historic more rapidly than the Millennial Dutch. Although its tactics (a pun, a weird world map, a calculated awkwardness, a profoundly purported disinterest in beauty) remain evergreen, to deploy the particular formal habits and rhetorical maneuvers epitomized by OMA and company constitutes, suddenly, a historicist gesture. Some of this may be due to the recent gyre of events (stolen election, terrorist attack, willful war, great recession) that have rendered the seemingly XL of 1995 ever more XS. And anything vaguely prophetic and apocalyptic in sensibility, as that work surely was, comes with a sell-by date… (click link to read more)

Link: http://archpaper.com

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UPCOMING – Cronocaos exhibition by Rem Koolhaas at the New Museum – New York City

May 2nd, 2011 by

May 5 – June 5, 2011

The New Museum presents “Cronocaos,” an exhibition by OMA / Rem Koolhaas

"Cronocaos" is an exhibition about the increasingly urgent topic of preservation in architecture and urbanism by OMA / Rem Koolhaas and organized by the New Museum. First presented at the 2010 Venice Biennale, at the invitation of Kazuyo Sejima, Commissioner, "Cronocaos" takes place at the New Museum’s 3,600-square-foot, partially renovated, ground-floor space at 231 Bowery. It examines the growing "empire" of preservation and analyzes the consequences of these regimes for how we build, rebuild, and how we remember.

Twelve percent of the planet now falls under various systems of natural and cultural preservation. According to Koolhaas, heritage is becoming more and more the dominant metaphor for our lives today a situation he calls "Cronocaos." Koolhaas seeks to find what the future of our memory will look like, and how our obsession with heritage is creating an artificial re-engineered version of our memory. Lacking a set of coherent strategies or policies and generally not engaged by architects and designers, preservation is an under-examined topic, but increasingly relevant as we enter an age of "Cronocaos," in which the boundaries between preservation, construction, and demolition collapse, forever changing the course of linear evolution of time.

"Cronocaos" includes historic objects and photographs; analysis of the rapid growth of preserved urban and natural territories; and a timeline of OMA projects that have confronted the issue of preservation over thirty-five years of practice, including the 2001 proposed extension to the Whitney Museum of American Art and the curatorial master plan for The State Hermitage Museum in St. Petersburg. Each project within the OMA timeline will take the form of a postcard for visitors to peel off the wall and take home. By the end of the exhibition, preservation and depletion will be evident in the exhibition itself. Reflecting the exhibition’s themes, the former restaurant-supply space will be visually transformed into two very different areas: one side will remain "preserved" as it was while inhabited by the restaurant supply store; the other will be minimally renovated.

About Office for Metropolitan Architecture

OMA is a leading partnership practicing architecture, urbanism, and cultural analysis. OMA is led by seven partners-Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, David Gianotten, and Managing Partner Victor van der Chijs-and sustains an international practice with offices in Rotterdam, New York, Beijing, and Hong Kong. The counterpart to OMA’s architectural practice is AMO, a design and research studio based in the company’s Rotterdam office. While OMA remains dedicated to the realization of buildings and master plans, AMO operates in areas beyond the traditional boundaries of architecture, including media, politics, sociology, renewable energy, technology, fashion, curating, publishing, and graphic design.
OMA’s recently completed projects include the Wyly Theatre in Dallas (with REX, 2010); Prada Transformer, a rotating multi-use pavilion in Seoul (2009); the Casa da Música concert hall in Porto (2005); the Prada Epicenter in Los Angeles (2004); the Seattle Central Library (2004); the Netherlands Embassy in Berlin (2003); the IIT Campus Center in Chicago (2003); and the Prada Epicenter in New York (2001). OMA-designed buildings currently under construction include the new headquarters for China Central Television a tower reinvented as a loop in Beijing; the adjacent Television Cultural Centre; Shenzhen Stock Exchange, China’s equivalent of the NASDAQ exchange for hi-tech industries; a new headquarters for Rothschild Bank in London; and De Rotterdam, the largest building in the Netherlands.
Responsible for projects in the Americas, OMA’s New York office is currently overseeing the design for the Musée national des beaux-arts du Québec in Canada and the construction of Milstein Hall, an extension to the College of Architecture, Art and Planning at Cornell University, scheduled for completion during the fall of this year.

New Museum
35 Bowery
New York, NY 10002
Tel.: 212-219-1222

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Martijn Hendriks and Harm van den Dorpel in group exhibition "Free" at the New Museum – New York City

October 19th, 2010 by

Harm van den Dorpel, Redux, 2010, courtesy the artist

October 20, 2010 – January 23, 2011

Today, culture is more dispersed than ever before. The web has broadened both the quantity and kind of information freely available. It has distributed our collective experience across geographic locations; opened up a new set of creative possibilities; and, co-extensively, produced a set of challenges. This fall, the New Museum will present "Free," an exhibition including twenty-three artists working across mediums including video, installation, sculpture, photography, the internet, and sound that reflects artistic strategies that have emerged in a radically democratized landscape redefined by the impact of the web. The exhibition makes a case for a newly formed public art that responds to a vastly more connected society whose true openness is still being negotiated. The philosophy of free culture, and its advocacy for open sharing, informs the exhibition, but is not its subject. Instead, the title and featured works present a complex picture of the new freedoms and constraints that underlie our expanded public space. "Free" is curated by Lauren Cornell, Executive Director of Rhizome and New Museum Adjunct Curator.

"Free" is inspired in part by "Dispersion" (2001-), an essay by the artist Seth Price that is available as a free online booklet and will be featured within the exhibition as a large-scale sculptural installation composed of nine panels each imprinted with a page from the original booklet. The essay traces the increased dispersion of culture, by examining how its circulation and reception has changed across mediums from print, to video, and to the web. In light of the way we now experience political events and pop culture, Price questions the viability of public art as we understand it. Price writes: "We should recognize that collective experience is now based on simultaneous private experiences, distributed across the field of media culture, knit together by ongoing debate, publicity, promotion, and discussion. Publicness today has as much to do with sites of production and reproduction as it does with any supposed physical commons, so a popular album could be regarded as a more successful instance of public art than a monument tucked away in an urban plaza." The works in "Free" alight from Price’s statements to demonstrate and explore the multiple ways artists utilize, appropriate, and reenact material sourced from a distributed public space.

Martijn Hendriks, Untitled Black Video, 2009, courtesy the artist

For Lisa Oppenheim’s 35mm slideshow projection The Sun is Always Setting Somewhere Else19:3019:30 creates an unusual national archive while demonstrating how flexible the meaning of media can be, by revealing how easily obsolete culture from this former country (the nightly news sequences) can be rejuvenated into something vital with a shift in context. (2006), the artist sourced from Flickr snapshots of sunsets taken by US soldiers based in Iraq, and re-photographed the soldiers’ photos against her own horizon in America, framing a common tendency to connect to a universal experience from a foreign vantage point. Artist Aleksandra Domanovic instigates a process of cultural transubstantiation in her work (2010) for which she traveled around the former Yugoslavia collecting visual introductions of nightly news shows from national television stations. She then uploaded these clips online and encouraged DJs to use them as the basis for new techno tracks a genre of music chosen because it is based on the creation of infinite variations of original productions. Exhibited within the gallery as a two-screen video installation,

Other works in the exhibition explore strategies around the appropriation of digital imagery. Take No Photographs, Leave Only Ripples (2009) by Clunie Reid is comprised of a series of found images the artist layers with hand-drawn anarchic expressions. Dark Current (2010), a series of photographs by Andrea Longacre-White, explores the aesthetics of photographic degradation, through images that the artist re-photographed countless times. Takeshi Murata, in a premiere single-screen video, explores the way public images are interpreted, transformed, and personalized as they cycle through different contexts and hands. For this new video, Murata used the 3d modeling program Cinema 4D to investigate the notion of knockoffs through Popeye, a popular character that has been endlessly remixed online and whose copyright in Europe recently expired. Artist Trevor Paglen investigates information be it personal, scientific, or governmental data that is masked from public view. In his new series of large-scale landscape photographs, Paglen reveals classified information: federally sanctioned eavesdropping facilities deep in West Virginia and the orbits of dead spy satellites around the moon all secret activity made visible with extensive research and a long-range lens. Martijn Hendriks considers common forms of mass communication in his Untitled (Black Video) (2009). Hendriks sourced anonymous comments from an online video forum who participants were responding to the leaked video of the execution of Saddam Hussein: some crude, some unsettled, some laissez-faire, all demonstrating the kind of freedom associated with being unidentifiable. Artist Joel Holmberg asked searching, existential questions in the user-generated forum Yahoo Answers, like ‘How does it feel to be in love?’ or ‘How do I best convince someone I am an artist,’ in substitution of the mundane questions usually asked about pets or parking needs. Holmberg’s performance Legendary Account (2007-10) turns Yahoo Answers against itself by asking profound questions, instead of easily answerable ones.

Artists featured in "Free" include Liz Deschenes, Aleksandra Domanovic, Lizzie Fitch, Martijn Hendriks, Joel Holmberg, David Horvitz, Lars Laumann, Andrea Longacre-White, Kristin Lucas, Jill Magid, Hanne Mugaas, Takeshi Murata, Rashaad Newsome, Lisa Oppenheim, Trevor Paglen, Seth Price, Jon Rafman, Clunie Reid, Amanda Ross-Ho, Alexandre Singh, Ryan Trecartin & David Karp, and Harm Van Den Dorpel.

The exhibition catalogue will take the form of a frequently updated web site edited by Ceci Moss, Rhizome Senior Editor, with contributions by Lauren Cornell and guest essayists including author and critic Ed Halter; blogger Joanne McNeil; critic Brian Droitcour; and entrepreneur Caterina Fake, as well as related videos, articles, and artworks.

New Museum
235 Bowery
New York, NY 10002
Tel.: 212-219-1222


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Nicoline van Harskamp performance for Rhizome at the New Museum – New York City

June 18th, 2010 by

Nicoline van Harskamp, Max Bonner on the Phenomenology of Speech (2010). Image courtesy Rhizome and the artist.

June 18, 2010, 7:00pm (order tickets here)

As part of Rhizome’s New Silent Series Dutch artist Nicoline van Harskamp will present the US premiere of
Expressive Power Series Part 1: Max Bonner on the Phenomenology of Speech (2010), a new performance that builds upon an expansive body of work focused on politics and language. This ambitious, hour-long theatrical piece centers on an Interpersonal Dynamics consultant named Max Bonner and members of his audience, including a human rights activist, an academic, and a dogmatic anarchist, whom he attempts to convince of popular psychological models for social persuasion that are used variously by the Pentagon, corporations, and NGOs worldwide. The evolving discussion demonstrates, in the artist’s words "the impossibility of political consensus by way of verbal interaction" a situation that is here framed productively, with generative meaning to be found in points of dissonance, paradox, and negotiation. Cast includes Greg Shapiro, Liz Bolton, Mark Bellamy and Sheila Evans.

Nicoline van Harskamp, Any Other Business (audience), 2009. Photograph by Willem Sluyterman van Loo)

Rhizome @ The New Museum
235 Bowery

New York, NY 10002

Tel.: 212-219-1288


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Mark Manders in Skin Fruit: Selections from the Dakis Joannou Collection, New Museum – New York City

March 1st, 2010 by

Mark Manders, Unfired Clay Figure (2005-2006), courtesy the artist

March 3 – June 6, 2010

March 1, 2010 – VIP opening reception

The New Museum tonight opens the exhibition Skin Fruit: Selections from the Dakis Joannou Collection, curated by artist Jeff Koons. “Skin Fruit” will be the first exhibition in the United States of the Athens-based Dakis Joannou Collection, renowned as one of the leading collections of contemporary art in the world. This will also be the first exhibition curated by Jeff Koons, whose early works inspired the evolution of the Joannou collection.

“Skin Fruit” will include over 100 works by 50 international artists spanning several generations. Focusing on the body in contemporary art, the exhibition will spotlight the age-old preoccupation with the human form as a vessel of and vehicle for experience. Koons’s title “Skin Fruit” alludes to notions of genesis, evolution, original skin, and sexuality. Skin and fruit evoke the essential tensions between interior and exterior, between what we see and what we consume.

Starting with the first, now-legendary exhibitions, such as “Artificial Nature” and “Post Human,” at his DESTE Foundation’s non-profit museum in Athens, Dakis Joannou has focused on works that present a new image of man. It is no coincidence that hos collection developed in the cultural context of Greece, where Classical sculpture defined the Western canon of anatomical representation. Artists have arrived at a much more uncertain image of mankind in this new century, in which bodies are still idealized but also are assaulted by forces of their own making.

Joannou’s collection is comprised of more than 1,500 works by 400 contemporary artists, from the most eminent to those just emerging. For “Skin Fruit.” Koons has selected sculptures, works on paper, paintings, installations, and videos by a group of artists including David Altmejd, Janine Antoni, Matthew Barney, Nathalie Djurberg, Robert Gober, Mike Kelley, Terence Koh, Mark Manders, Paul McCarthy, Tim Noble and Sue Webster, Kiki Smith, Christiana Soulou, Jannis Varelas, Kara Walker, and Andro Wekua, among others.

New Museum
235 Bowery
New York, NY 10002
Tel.: 212-219-1222


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