Abu Graib abuse scandal

http://heyokamagazine.com/ArtListWebsite/ARTList-PAINTINGS.JosephNechvat...

TRUE and FALSETRUE and FALSE: audio art noise collage cassette released in 1985 on XOX
http://www.archive.org/details/TrueAndFalseXox-001Cassette1985

Wednesday, April 29, 2009, started just like any other day in New York
City. I needed to do an errant and had to go up to the German Consulate on 49th Street to have my signature verified on some legal document my
Berlin notary had sent me. It was a beautiful day and so I decided to
take my old BMW K75 motorcycle for a ride up there. My plan was to

Freephone Art Project offers the deported a chance to phone home

LATimes

4:00 PM, May 21, 2009

http://latimesblogs.latimes.com/culturemonster/2009/05/freephone-project...

A group of Master of Fine Arts students and recent graduates from UC San
Diego are busy organizing the Freephone Art Project, an unusual art

[Caveat lector – reporter is largely ignorant of recent European history; comments welcome.]

Ernesto Neto
Anthropodino
Seventh Regiment Armory
Park Avenue and 66th Street, New York
May 13 - June 14, 2009

May 14, 2009.

In Brasil, to call someone or something "ginga" (pronounced ZHEEN-ga)

is to offer a high compliment. Ginga connotes an intuitive, mystical quality of movement and attitude that Brasilians like to think is uniquely theirs, permeating the way they walk, talk and dance, part of everything they do. It is a synthesis of mind and body, a state of corporeal grace informed by intelligence, creativity and rhythm. Most frequently applied to the "beautiful game" evinced by the star players of Brasilian fútbol, ginga is also evident in the Escolas de Samba, and in the other athletes, musicians, actors and artists who are the pride of Brasil.

When Ronaldo fakes out a defender with his splendid footwork and executes a somersault kick into the net, this is ginga. When Caetano Veloso sings and plays guitar on "O leãozinho", this is ginga. And now, Ernesto Neto, a true Carioca, an artist who lives, works and takes inspiration from his hometown of Rio de Janeiro, has successfully exported ginga to New York for his month long playground and sculptural installation in the huge Drill Hall of the Seventh Regiment Armory on Park Avenue.

Le Petit Versailles
346 East Houston Street, NY
(between Avenues B & C, additional entrance at 247 East Second Street)
Aurelio del Muro, 7th Avenue, through May 31, 2009

Aurelio del Muro, Twins, 2009

A sure sign that Spring has arrived in the East Village is the opening of the regular season of outdoor events at Le Petit Versailles, which generally runs from early May through October. A community garden and public art space, LPV is the brainchild of a pair of artists, filmmakers, performers, gay/queer/trans activists, green guerrillas and co-conspirators, Peter Cramer and Jack Waters, who are also amalgamated as Allied Productions, Inc., a non profit arts organization established in 1981.

East Second Street gate

Adel Abdessemed, RIO
David Zwirner Gallery, NY
April 3 - May 9, 2009

Adel Abdessemed, the 38-year-old Algerian born, French educated artist who now lives in New York, has been a curatorial darling for the past several years. He was included in Rob Storr's 2007 Venice Biennale, and given solo exhibitions at the San Francisco Art Institute, the Fondazione Sandretto Re Rebaudengo in Turin, the List Visual Arts Center at MIT, and at P.S. 1 in Queens. His current gallery show in New York, spread over all three of David Zwirner's expansive Chelsea galleries, reveals a shape shifting, confrontational artist who works in all media and all scales.

There is a room filling installation of several airplane cockpits and tailfins twisted together like a huge pretzel. There are small drawings of proposed projects. There is a steel oil drum that has been morphed into a music box which plays a bit of Wagner when it rotates around a motorized axle.

The Generational: Younger Than Jesus
New Museum
235 Bowery, New York
4/8/09 - 7/5/09

Younger Than Jesus is the first edition of The Generational, the New Museum’s new signature triennial. It includes work of fifty artists from twenty-five countries. The artists cannot be older than 33; none were born prior to 1976. The show is curated by Lauren Cornell, Massimiliano Gioni and Laura Hoptman.

The texts below are based on a number of comments I posted on the blog of a local magazine. Dates and times of their original postings are included, as are images found online.

Here's a show that begs to be loved. Anything less would be like kicking a puppy at its first sniff of art stardom. So I knew Jerry Saltz's carefully constructed persona - zeitgeist-er, confidante, ear to the ground, eye on the sparrow - would necessitate a thumbs-up review of this show and on the inauguration of the Nu Mu's ambitious triennial project. Even if he has to hedge his bets with phrases like "flawed but tantalizing" and "despite its clinical spaces and a couple of misfires". Even if he includes a polemical, cautionary first paragraph that states the problem - "received ideas about appropriation, conceptualism, and institutional critique...a cool school, admired by jargon-wielding academics who write barely readable rhetoric" - and then pretends the Nu Mu is the solution to this problem rather than one of its prime exemplars.