please,
click

Many artists have created games to satisfy their aesthetic and political longings, Duchamp a prime example. Then there is the singular case of Öyvind Fahlström (1928-1976), painter, installation artist, poet, critic, creator of happenings, co-conspirator with Robert Rauschenberg and Billy Kluver. Within a very varied body of work, he produced several world political paintings with movable magnetic elements in the early 1970s, modeled after the famous Monopoly game board, dealing with the Vietnam War and with the global realpolitik of emerging nations in the Third World.

Guy Debord's Widow Threatens NYU Professor with Copyright Violation

Professor Is Accused of Infringing the Copyright of a Man Who Opposed
Copyright

By ANDREA L. FOSTER,

http://chronicle.com/weekly/v54/i33/33a01603.htm

Guy Debord, a Marxist philosopher who died in 1994, was no fan of
private property. But apparently his widow is one.

As reported by the Associated Press, Professor Steve Kurtz of the Critical Art Ensemble was cleared yesterday of all charges related to the biological material found in his Buffalo, NY home four years ago. The indictment of mail and wire fraud in the improper obtaining of these specimens for his art work, which is critical of U.S. government agricultural policies, was dismissed in federal district court as "insufficient on its face."

A recent item in New York Magazine suggested that Takashi Murakami's art (currently in retrospective at the Brooklyn Museum) is so wild and crazy that it defies description. This didn't sit well with me, not only because it disparages the discipline of art criticism and the craft of its practitioners, but also because it smacks of cheap marketeering, hoping to elevate the Japanese artist to the undeserved status of demiurgic uberkunstler.

"The joy of the Postmodern, and as we go into the next period at the moment (name TBA), is that immaterial culture's association with the material (expand at will) is that the antagonism between the art market and the avant is diffused by allowing for localized discourse. Since the "ism" was destroyed, art atomized into very local threads of genre, into small groups, and even imploded to the individual.

Artists Meeting met at the SCOPE Art Fair at the [PAM] installation and VIP lounge. We also did a short walkaround. Here's the link to a 1 hour video stream. Can be played with quicktime or a real media player.

Reference QT movie-- http://nujus.net/gh_04/video/scope-1web.mov

scalable video stream--
rtsp://nujus.net:8000/scope-1web.mov

DARK FAIR
March 28 - 29, 2008
Presented by Milwaukee International
at SWISS INSTITUTE/CONTEMPORARY ART
495 Broadway, 3rd Floor

Considering those aspects of Armory Week in New York which might be remembered in days to come, I predict Dark Fair will resonate in the annals of art history, and not just for the central conceit of doing it off the grid — of using no plug-in electrical devices or overhead lights at its Swiss Institute venue, instead substituting candles, flashlights, battery powered laptops, kerosene lamps and other glow-in-the-dark initiatives — but for its subversive stance as an anti-fair, an event that emulated the form but not necessarily the mandate to sell. It opened on Friday, closed on Saturday, and in the interim attracted an audience that stretched around the block.

Were the Whitney Biennial an entry on the police blotter of art history, of the Who, What, When, Why, “Just the Facts, Ma’am” variety, then this short text concerns its Where. Unlike other New York museums, which have recently, for better or worse, completed dramatic new building projects (MoMA’s Tanaguchi temple and the New Museum’s grey ghost on the Bowery) or made major efforts in franchising their brand overseas (look no further than the Mc Guggenheims) the Whitney has generally been stymied in its expansion plans.