Category: Writing about Art/ Artists

The Art Instinct: Beauty, Pleasure and Human Evolution, by Dennis Dutton, Oxford University Press 2009.

September 6th, 2010 · admin · Articles of interest, Writing about Art/ Artists No comments - Tags: , , , , , , , , , , , ,

America’s Most Wanted (dishwasher size), Komar and Melamid (1994)

This book tackles the relation between current art practices and drives (‘instincts’) established in the Pleistocene era, when humans as we currently know them first appeared. It argues that these drives originally had an evolutionary purpose, including sexual selection and other factors affecting ‘survival of the fittest’. But just what is this ‘fitness’?

Evidently it refers to successful competition for a mate, and to other attributes that helped our ancestors to survive the trials of prehistoric life. But it can also explain apparent anomalies, like the male peacock’s cumbersome tail, which requires great resources to produce, and led to a ‘fitter’ individual. Not only did such factors have ‘survival value’ in demonstrating superior fitness, but, according to Dutton, also benefited the group through enhanced communication and the ability to enter into other people’s minds. Dutton’s thesis is that these needs or impulses connect to our experience of art, both as creators and spectators, and provide evidence for what he calls a ‘Darwinian aesthetics’. This links modern art experiences to the formative period of human nature, and so attempts to justify art at its root. Ellen Dissanayake’s ‘Homo Aestheticus’ follows a similar line but with a less pronounced evolutionary slant. However, Dutton’s book is robustly argued and would provide an excellent introduction for anyone not yet familiar with the field.

Early in the book, Dutton deals with the issue of our collective preferences for certain types of landscape (wittily condensed in a reproduced Komar & Melamid painting ‘America’s Most Wanted’ (1994)). Let’s take for granted the plausible hypothesis that our Pleistocene ancestors found certain types of savannah landscape attractive, mainly for reasons of survival. There is, however, what could be called a gradient of causality between Palaeolithic preferences for certain landscapes, our current and actual enjoyment of these, and the liking for fairly literal representations of them in art. At what point does what began as ‘evolutionary adaptation’ translate into something so far removed from its origin that the term has questionable explanatory value? The ‘survival’ here might be less to do with the evolutionary pressures once applied to humans and more to do with something that has become an irrelevant atavism.

David MacLagan http://www.escapeintolife.com/essays/the-art-instinct/

Andrew Lewicki

September 3rd, 2010 · admin · Find an Artist No comments - Tags: , , , , , , , , , , , ,

andrew lewicki parabolic ramp, halfpipe, skate ramp, parabola, torrance art museum, TAM, the rise of rad

y=x² (2010)
plywood, douglas fir, black pipe
16′ x 13′ x 8′

Andrew Lewicki’s art points defiantly at the status quo. A graduate of Otis College of Art and Design, Lewicki has crafted a skate ramps and rails out of highly regarded artistic materials like walnut and gold-plated steel. His elegant construction identifies illicit activities like street skating and vandalism, and points out the affinities between fine art and urban subcultures.  In recent years, the city of Los Angeles has explored civic “solutions” to such practices by installing legal skate parks and authorized graffiti walls, a tactic Lewicki exposes as both antithetical and irksome to the rebellious spirit inherent in these exploits.

Artists often take inspiration from their own youth subcultures – even in general culture skateboarding has subconsciously made itself part of the air breathed here in SoCal and elsewhere across the world. When artists look at skateboarding they see the implications of the activity – political, sociological, psychological, etc and can react to this, to build on the meaning of it, the content, to look at wider issues. The physical engagement with the activity of skateboarding, as well as the immersion in the subcultures that it generates – with all of its implicit profiles of rebellion, individuality, freedom and separation from mainstream society – can and does create an infrastructure of interpretation of Being. This includes a variety of things in the world, by necessity of course, ranging from the methodology of spatial movement and interaction within the architecture of the urban environment to the idealization of the Self as essentially existential and isolated.

The physiological extremes that the body itself is forced into, with its moments of exhilarating danger, the triumph of will over gravity that heightens the perceptual moment, the adrenaline rush of speed all become inextricably linked to untheorized but present aspects of engagement between the inner self and ones surroundings. All that is needed is the soundtrack and the act of skateboarding becomes its own mythology of experience for the practitioner – one that is shaped by the nexus point where lifestyle, sense of self, motion, movement and the mechanics by which this achieved come together.

Important Private Art Collection Goes up for Bid

September 2nd, 2010 · admin · Articles of interest No comments - Tags: , , , , , , , , ,

2010-08-28-hassam.jpg
Childe Hassam, Royal Palms, Cuba, oil on canvas, 1895, 25 by 31 inches, est. $300,000-$600,000. John W. Coker Auctions image

In the world of collecting art, there are a few things buyers consider before pulling out their checkbook:
1. The importance of the artist – does this artist have trend you can follow over the past 10+ years or am I buying this speculating this artist will be someone to have in the near future.

2. Provenance: Who had this item before me? Was it from an important collection, a museum exhibited item, or a gallery that was known for representing the artist.

3. How many people were offered this item before me?
That last question is always important as diehard collectors want things fresh to the marketplace. They don’t want to think the rest of the world has seen the item before they did (unless of course it was featured in a book or magazine!)

When private collections hit the marketplace, and forgive me for being cliché, but the crowd goes wild! Recently, the collection of art acquired by Dr. Albert K. Chapman of Eastman Kodak was consigned to the John W. Coker gallery in New Market, Tennessee; and with no reserve. Chapman was a top executive, and inventor at Eastman Kodak. He began collecting Impressionist and Post-Impressionist art in the 1930s. Very few people even knew of his collecting interests. Apparently, Chapman had a very good eye. Of all he acquired, only one was ever seen outside his home. It was a Mary Cassatt loaned to the Smithsonian in a 1970 exhibit which was also included in a catalog raisonne.

2010-08-28-cassatt.jpg
Mary Cassatt, Simone Talking to Her Mother, pastel on paper, 25½ by 30½ inches, est. $200,000-$400,000. John W. Coker Auctions image.

The collection was passed down through three Chapman generations and is now going on the auction block September 15th. Many of the paintings from the collection have been thought to be lost over the years. The Cassatt will certainly be a highlight of the sale, but additional works by Childe Hassam, Alfred Sisley, Pierre Bonnard and 30 other distinguished artists from the period 1870 to 1950 will be up for bid. As mentioned earlier, provenance can add value to an item, and the Chapman family was good at keeping records and receipts for the collection. Most of the works have information on where the item was acquired, and for what price, along with previous owner information if it was available at the time.

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Emile Bernard, Pont Aven, oil on canvas, 24 by 18 inches, est. $30,000-$50,000, John W. Coker Auctions image

COUNTER CONSTRUCTS Nicholas Brooks Graham Hudson Tim Ivison & Julia Tcharfas Paul Kneale Guan Rong Brendan Threadgill 18 September – 3 October

September 1st, 2010 · admin · Shows that are on! No comments - Tags: , , , , , , ,

Counter Constructs brings together seven artists from the UK and North America in an exhibition exploring strategies of representation and critique of the urban built environment. Responding to the undead ?regeneration? of global development projects and the geologic sediment of spatial histories, the exhibition is a series of implicit proposals and contestations. Un?nished maps, unspeci?ed models, unbuilt plans and unbuilding t…he city – the exhibition is as much about utopia as it is about its folly.

Initially organized by Tim Ivison & Julia Tcharfas around their research-based collaborative practice, Counter Constructs is a way to extend their dialogue on urban space to a wider range of interpretations. The artists in the show are brought together by
a shared interest in mining the ?structure? of architectural thinking. Comprising a sound installation, a détourned architectural pavilion and a ?oor-drawing altered daily – each work represents a part of a circuitous system of associations and digressions. Auto-Italia
will be temporarily appropriated as a space for the archaeology of urban utopias and the staging of alternative visions.

http://www.autoitaliasoutheast.org/forthcoming.html
info@autoitaliasoutheast.org

Mural Locator

September 1st, 2010 · admin · Articles of interest No comments

Partial screen grab of MuralLocator.org homepage

Found this great site http://murallocator.org/ , for something a little different in your day. With big, colorful photos and maps that pinpoint murals around the world. The homepage starts you off with a collage of murals. Click through each to find details, including the artist’s name. You can also click on the map page to find murals by destination. So far, most of the murals come from the U.S. and just a few locations at that. But the public is invited to Submit a Mural, and you can also subscribe to the site’s RSS feed if you want to be alerted when a new mural is posted.

New home of Sperone Westwater gallery

August 31st, 2010 · admin · Articles of interest, Writing about Art/ Artists No comments - Tags: , , , , , , , , , ,

When the Sperone Westwater gallery opens on Manhattan’s Lower East Side next month, it will stand out in every way. To an area where emerging-art galleries occupy storefronts and cramped walk-up spaces, Sperone Westwater will bring an eight-story sliver designed by Sir Norman Foster with laminated- glass facade, three floors of gallery space and a display room that moves from floor to floor. The 20,000-square-foot building, which showcases a blue- chip program led by Lucio Fontana and Bruce Nauman, will add some serious commercial bling to the scruffy emerging-art galleries clustered around the New Museum.

“There’s no gallery of that caliber in the area,” said Laura Solomon, New York art adviser. “Rather than being one of many strong galleries in West Chelsea, they want to be a big fish in a small pond.” Most Lower East Side dealers rent modest spaces at prices ranging from $50 a square foot on Delancey Street to $200 a square foot on Bowery.

The new space will have public galleries on the first three floors, private viewing rooms on the fourth and fifth, offices on the sixth and seventh and a library on the eighth. The mobile exhibition room, with its 13-foot ceilings, can be moved from floor to floor to serve as extra gallery space. During the inaugural show by Guillermo Kuitca, the mobile room will display 54 of the Argentine artist’s painted mattresses.

Younger galleries hope the new heavyweight will boost the number of wealthy patrons strolling around the neighborhood, with its hip bars, boutiques and restaurants. “Their program has strong ties in Europe and big European collectors will be forced to come down here,” said Augusto Arbizo, director of nearby Eleven Rivington gallery. Whether these buyers will acquire art outside the blue-chip emporium is another matter. “Maybe for fun they’ll go to smaller galleries,” said Solomon. “I don’t see that for purchasing the clientele would overlap that much.”

New Technology in Audio Tours

August 30th, 2010 · admin · Articles of interest No comments - Tags: , , , , , , , , , , , ,


Phones are everywhere today. Apparently visitors expect the same level of comfort and engagement at home, on the go, and at institutions. Guide by Cell turns cell phones into interactive audio guides. Capture the power and accessibility of personal mobile devices to inform and interact with guests.

Simply record over the phone or upload audio to create your tour. Visitors use their cell phones to hear audio content and interact. You can leave feedback, share thoughts, and even vote. You can incorporate visitor comments into the tour with the creation of a Cell Blog. Visitor generated content adds a personal dimension to the tour. Education was never so engaging!

Visitors get to guide themselves.To access the audio guides, visitors call a local number using their own phone, then enter the item they want to hear. It’s as easy as that. Visitors may remain connected throughout their visit, or hang up and call back. They may listen to descriptions in any order. You can add as much interactivity as you like. Ask your visitors to leave feedback right over the phone. Add a cellblog feature by inserting these voice comments back into the tour. Allow visitors to press a key to receive a text message with a link to your site, a coupon or a mobile giving request. Include voting to engage visitors. Add photos and videos through our MOBI/WAP service.

You can even weave Mobile Giving into your tour to raise money and build your donor base.

Visitors at the Santa Cruz Museum of Art & History now can use their cell phones to supplement the history of Santa Cruz County provided in the long-term exhibit “Where the Redwoods Meet the Sea.”

At 25 stations throughout the exhibit, visitors can dial a number on their cell phones and listen to two-minute recordings that make the exhibit more kid-friendly, appeal to the increasingly tech-savvy younger generations and reduce costs and paper usage.”We wanted to modernize our history gallery and bring new technology in,” said Ashley Adams, curator of education for the museum. “It’s very user friendly.” The technology draws people in with voice recordings of local researchers and historians, some of whom play historical characters giving their own accounts of Santa Cruz history.

“The program responds to peoples’ need to hear more information or to hear it aurally,” said Paula Kuty, a volunteer and gallery host at the Museum of Art & History. Kuty said the technology is especially helpful for young children who can’t yet read, or for people with disabilities. An additional perk of the cell phone tour is that users can leave comments and feedback by simply leaving a message on the recording system. If visitors want to revisit the content after leaving the museum, they can re-dial the number and hear the recordings again without returning to the museum.

Francis Alÿs

August 27th, 2010 · admin · Find an Artist, Writing about Art/ Artists No comments - Tags: , , , , , , , , , , , , , , , , , , ,

Francis Alÿs is not an easy man to track down. A perfect mirror image of his work, he seems to be constantly moving from one place to another, and the wide range of media he uses – from painting to video and performance – can’t help but reinforce the conviction that with Alÿs we are called to deal with a rather mysterious, if not elusive, figure.

London map with highlights

“A journey implies a destination, so many miles to be consumed, while a walk is its own measure, complete at every point along the way.” Francis Alÿs

Francis Alÿs walks a lot. He walks the streets of the world’s largest metropolis, Mexico City, where he has made his home for almost twenty years. He has also walked the streets of Copenhagen, Sao Paulo, Jerusalem and London. Observing and intervening in this huge open-air studio, Alÿs maps the city, staging elusive scenarios and making poetic films and animations. His work can be as monumental as moving an immense sand dune (a project he undertook with five hundred people in Lima, Peru), as ephemeral as sending a postcard or as subtly humorous as having a peacock take Alÿs’ place at an important gathering of his peers.

Over a span of five years, Alÿs walked the streets of London, evolving Seven Walks for Artangel, a project which delved into the everyday rituals and habits of the metropolis. The walks were enacted in different parts of the city – Hyde Park, the City of London, the National Portrait Gallery, the streets close to Regents Park. Three of the walks Guards, The Nightwatch and Railings were made with Alÿs’s long-term collaborator Rafael Ortega. The ensuing films, videos, paintings and drawings were presented together in Alÿs’s first major public presentation in Britain.

Alÿs in an interview describes his own practice:

I start with an idea, then it develops. Usually you start talking to somebody else, and that person can translate differently; it grows, it starts to get a shape. Usually the medium defines itself. It could be an animation, it could be a drawing, a painting, a text or a sound. But that’s a second stage of the evolution. It probably means that I’m a failed writer. You’d love to do everything you want but you cannot. There are certain things you cannot express but through a painting. Painting enjoys a certain advantage. Some people would rather look at a painting than a photograph, or give more time to it. That possibly gives you a stronger contact point with the public. Also, because the images are figurative, they’re more straightforward. I use painting in a very traditional way. It’s a very good mental space for me. I think the multiplicity of media sometimes has kept me from being cornered into one specific audience. I know that if I would I’d be isolated within a very strict contemporary art world circle.

find out more at: http://francisalys.com/

Francis Alÿs: Fabiolas project

August 26th, 2010 · admin · Articles of interest, Find an Artist, Writing about Art/ Artists No comments

http://www.culture24.org.uk/asset_arena/9/58/66/166859/v0_master.jpg

The owner of the Fabiolas is Belgian—born artist Francis Alÿs, who amassed the ensemble almost by default. Shortly after he abandoned his vocation as an architect in favor of a conceptually driven art practice, Alÿs decided to make an art collection for himself. Given his limited resources, his abiding fascination with various forms of artisanal production, and his interest in the structure and role of the (art) market as it impacts economies of production, he resolved to build his collection from “hand-painted” copies of what he assumed would be famous masterpieces that he would find in flea markets and similar haunts. But, in place of the anticipated journeyman renderings of Raphael’s Sistine Madonna, Leonardo’s Last Supper, or Millet’s Angelus (or, for that matter, the audacious interpretations of Alberto Korda’s Che Guevara), he encountered pictures of a young female saint whom he came to know as Fabiola. For rather than the Madonna (or even Madonna), she remains the copyist’s favorite model. If most of his early acquisitions were found serendipitously, on his wanderings through cities as far flung as Maastricht and Mexico City, more recently the findings of colleagues and contacts have expanded his project. Beginning as a modest, almost casual, quest, Alÿs’s deliberately low-key venture has nonetheless produced an exceptional entity and a shift in his thinking. The questions raised over the years by both the geographic dispersion and the abundance of copies have transformed the original endeavor into an investigation: “Why that image in particular? What gives it that power to resist . . . first mechanical reproduction and now digital reproduction? What does the act/ritual of painting that image . . . mean for its author? What is it that made it become an icon, an object beyond any consideration of taste? How has it served a reminder of the existence of a completely parallel and separate art scene from, say, ‘ours,’ one with its own references and obsessions?” Alÿs’s collection may be distinguished from most others assembled by artists on account of its founding precept: its basis in copies, for this governing mandate has meant, ipso facto, that the work of the celebrated professional practitioner is forsaken for that of the artisan, the renown for the anonymous, the original for the replica, and the precious for the ostensibly commonplace or banal. That Alÿs would choose to devote his attention to unknown practitioners is fully in keeping with his aesthetic; that the project’s originating conception, its governing logic and axioms, would ultimately produce results far from what he could have anticipated is fully in accord with his customary ways of conceiving projects; that its underlying ethic downplays issues of the signature statement in favor of communal or collective discourse is symptomatic of his interest in collaborative methodologies.

For more information please go to http://www.lacma.org/art/AlysIndex.aspx

Ambulation @ Plymouth Visual Arts Centre 14 August – 10 October 2010

August 25th, 2010 · admin · Articles of interest No comments - Tags: , , , , , , , , , , , , , , , , , , ,

viewmasterparispymouthArtists:
ad:HOC, Bridgette Ashton, Tim Brennan, Simon Persighetti and Tony Whitehead, Phil Smith and Polly Macpherson, Architecture Centre Devon and Cornwall
Ambulation is an exhibition, series of events, films and new commissions by artists and architects who use walking as an artistic practice.

The series of newly commissioned tours explore the city through its histories; and unseen, distinctive anomalies. The intention of Ambulation is that the exhibition of ephemera, commissions and documentation along with the projects; participatory and performative, will help to develop a conversation on walking and the city over the period of the exhibition. This will be encouraged through discussion with the artists and architects involved in the projects.

Each of the artist and architects have been invited to pose new work as offer their own take and position upon the ideas of walking as an artistic practice and on the city of Plymouth. The term ambulation simply means ‘to walk from place to place; move about’. It is often used in a medical context, and has slipped from everyday vocabulary. The meaning of the word in question and the history of walking is long and various.

This has been intrinsic to the creative practices of Henry David Thoreau, Charles Baudelaire, Walter Benjamin, Bruce Chatwin and more recently Rebecca Solnit, to the artistic practices of Hamish Fulton, Richard Long, Francis Alÿs, Janet Cardiff, and Sophie Calle.

Curated in collaboration with Mark A James as part of the Plymouth Visual Arts Consortium Associate Scheme.

Press enquiries: contact Hannah Prothero, Marketing & Communications Manager, Plymouth Arts Centre, phone: 01752 276990, email: hannah@plymouthartscentre.org

All events are free and can be booked in advance from our Box Office unless stated.

Live Performance and Workshop by Tim Brennan
Wand Performance: Friday 3 Sept, 7pm
Wand is part performance, part exhibition, by artist Tim Brennan. The work takes the walking stick as a sculptural emblem to explore the ideas and practices of walking. The artist will perform a 20-minute performance that reflects on the idea of walking through a combination of recited texts.

Walkshop: Saturday 18 Sept, 11am – 4pm
Following on from Tim Brennan’s performance Wand, he will run Walkshops for participants who purchased walking sticks from his initial performance. These participants have been invited to return and work with Tim to document their own uses of the sticks. Documentation from the Walkshops will be available to view on the Itinerant Toolkit blog:
http://www.theitineranttoolkit.org.uk


Guided Walk by Phil Smith
Things-Meanings Walk: Weds 8 Sept, 6.30pm
Meeting outside Brittania Inn, 2 Wolseley Road,
Plymouth, Devon PL2 3BH? (at junction of
Wolseley Road with Outland Road)
Phil Smith guides a walk testing out ‘Things-Meanings’: objects that have been made in collaboration with designer Polly Macpherson as part of Ambulation. The objects from the exhibition will become the focus for the discussion of the walk. Phil Smith is an academic, writer and performer based in South Devon. Since 1998, he has worked on site-based performance and created subverted forms of the guided tour.

Guided Walk by Simon Persighetti and Tony Whitehead
TRACKS: Saturday 11 Sept, 12pm and 2pm
TRACKS is a guided walk by Simon Persighetti and Tony Whitehead, which leads you through the city of Plymouth via its musical history. Using found and archive forms these sonic drifters invite the public to experience the tracks of the 50s, 60s, and 70s down the grooves and backstreets of the city.

Guided Walk with Jeremy Gould
Heritage Open Tour: Saturday 11 Sept, 6pm
Plymouth city centre is the greatest built example of Post-War British planning and architecture. Join Jeremy Gould, the leading expert on Post-War architecture in Plymouth, for a special walking tour. Discover why Plymouth has the greatest number of listed Post-War buildings outside London and why it represented the architecture of the future – clean, bright, democratic and, most of all, optimistic. Organised by Architecture Centre Devon and Cornwall.Visit www.heritageopendays.org.uk to book your place or email info@acdandc.org.uk.

Heritage Open Days: Saturday 11 Sept
Theatre Royal Plymouth and the Architecture Centre Devon and Cornwall will be leading tours of both the Theatre Royal and TR2 for Heritage Open Days. This is a once-a-year opportunity to explore and enjoy hidden architectural treasures completely free of charge. Visitors booked on both tours are encouraged to walk along the South West Coast Path: www.southwestcoastpath.com or cycle to TR2 for the afternoon tour. Part of Plymouth: 20th Century City, a Heritage Lottery funded project:
www.20thcenturycity.org.uk.
Visit www.heritageopendays.org.uk to book your place or email info@acdandc.org.uk.

Free Discussion with curators
Paula Orrell and Mark James
The Itinerant Talk: Tuesday 14 Sept, 6.30pm
In this talk Paula Orrell, Curator at Plymouth Arts Centre, and Mark James, Keeper of the Itinerant Toolkit, discuss curatorial practice and give an examination of Ambulation. www.theitineranttoolkit.org.uk

Salon South West
Reading group discussion: Weds 29 Sept, 6pm
Salon South West has been invited to host a reading group and discussion looking into the themes and ideas that surround Ambulation. A text will be selected and distributed. Salon South West aims to provide a supportive environment in which visual artists can explore their critical understanding of visual arts practice. For more information visit:
http://salonsouthwest.wordpress.com


Guided Walk by Bridgette Ashton
Pedestrian Plymouth: A Guide to Aimless Wandering
Thursday 30 Sept, 6pm
Bridgette Ashton leads a guided walk explaining some of the ideas, themes, and sights that are included in her map Pedestrian Plymouth: A Guide to Aimless Wandering.


The Big Draw Activity for all Ages
Mark Your Map: Saturday 2 Oct, 11am – 4pm
All ages welcome (under16s must be
accompanied by an adult)
Plymouth Arts Centre, Architecture Centre Devon and Cornwall, Part Exchange Co. and Plymouth City Market are working in collaboration on the Big Draw 2010. To participate collect your packs from Plymouth Arts Centre and mark your map to and around the West End including the Plymouth City Market and Frankfort Gate. The event concludes with a market stall exhibition of all of the drawings produced in the day. Part of Plymouth: 20th Century City, a Heritage Lottery funded project www.20thcenturycity.org.uk.


Film Academy
Discuss the genre of the road movie
Tuesday 5 Oct, 6pm –8pm
Our very own Film Programmer Anna Navas, along with Ambulation curator Mark James, lead this season’s Film Academy. To coincide with our exhibition Ambulation and the cinema screenings of The Sweet Smell of Success and Radio On in the cinema, Anna and Mark will show film clips and discuss the genre of the road movie.


Curator’s Choice Films
Radio On: Weds 6 Oct, 6pm
Dir. Chris Petit, UK, 1979, 100mins
Tickets from £6.50 per screening
Cast. David Bearnes, Lisa Kreuzer, Sandy Redcliff
Following a young London DJ on the road to Bristol to investigate the death of his brother, Radio On is a compelling vision of late 1970s England; stalled between failed hopes of cultural and social change and the imminent upheavals of Thatcherism.

The Sweet Smell of Success: Weds 6 Oct, 8.30pm
Dir. Alexander MacKendrick, US, 1957, 96 mins.
Cast. Burt Lancaster, Tony Curtis.
Tickets from £6.50 per screening
British director MacKendrick goes for full fledged noir in this brutal tale of greed and corruption. In the flashing neon night time of New York City, press agent Sidney Falco (Curtis) trawls the city’s nightspots looking for the vicious king of celebrity columnists JJ Hunsecker (Lancaster). The film is both mesmerising and unforgettable.

Francis Alÿs Films
Film screening and exhibition finale event
Thursday 7 Oct, screenings start at 5.30pm, free
Courtesy David Zwirner, New York
Francis Alÿs is one of the art world’s most acclaimed practioners. Here we show two of his best short films:

Paradox of Praxis, 5 mins: The film depicts Alÿs engaging in a simple and seemingly futile gesture: pushing a block of ice through Mexico City.

When Faith Moves Mountains, 15 mins: Francis Alÿs visited Lima before the collapse of the Fujimori government, finding a desperate situation that called for an epic response, he persuaded 500 Peruvian students to move a sand dune a few centimeters…


YPAC Book Launch
The Traveling School of Art [sic]
Thursday 7 Oct, 6pm
YPAC is a forum for young people interested in contemporary art. The group meet every week to chat, plan, and do creative projects. These informal sessions are an opportunity to be involved in the life of Plymouth Arts Centre. The latest project by YPAC, The Traveling School of Art [sic], is featured within the exhibition Ambulation and can also be viewed on their Facebook page and blog spot:
www.thetravelingschoolofart.blogspot.com

If you have any questions or would like to book a place on an event please phone: 01752 206 114.

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