Alexander and Bonin is pleased to announce Loop, the first one person exhibition by Jorge Macchi in New York.
 
For this exhibition Macchi will divide the gallery into three spaces. Each space will contain works which manifest the measure of time and reiterate its extension in space through a series of projections, objects and watercolors. Jorge Macchi’s finely tuned vocabulary results in works which are simultaneously poetic and uncanny.
 
Time stands still in a number of Macchi’s recent works. Pendulum, 2013 a curved I-beam supported by two plastic stools, appears to buckle under its own weight. As the title suggests, this tensile irregularity also demarcates the path of a pendulum’s swing, as if to solidify the infinite number of repetitive momentary positions of its arc. First Second, 2013 employs a similar logic, capturing a moment in a material. Macchi has cast the narrow wedge between the hour marking twelve and the tick of the first second on a clock’s face in concrete. This cast triangle renders space-time solid while at the same time leaving open the possibility of development, like a step on a spiral staircase of simultaneity.
 
The video installation, XYZ, 2012 will occupy the rear space of the gallery. The image of a station clock with hands frozen is projected in such a way that the three hands rest perfectly into the seams of the corner of a darkened room. In his work Macchi fuses architecture, space and time into a simple yet unfamiliar congress.
 
The two-channel video projection From Here to Eternity, 2013 will be shown on the gallery’s second floor. This work is the most recent collaboration between the artist and the musician Edgardo Rudnitzky. Two clips were extracted from the classic Hollywood film: the first from the opening title sequence and the second while the words ‘THE END’ appear on the screen. The clips have slightly different lengths creating a chaotic sound mixture and are combined with a third audio channel in real time using notes from the original soundtracks and from music sung by women.
 
Jorge Macchi was born in 1963 in Buenos Aires where he continues to live and work. Since the mid-1980s, his work has been shown throughout the Americas and Europe. Currently, ten large-scale installation works from 2007–2013 are being shown in ‘Container’ a one-person exhibition at the Kunstmuseum, Lucerne. In 2011, his work was the subject of a survey exhibition, ‘Music Stands Still’ at the Museum of Contemporary Art (SMAK) in Ghent. His work was represented in the 11th Biennale de Lyon (2011); the 12th Istanbul Biennial (2011); ‘All of this and nothing’, Hammer Museum, Los Angeles (2010); ‘Brave New Worlds’ at the Walker Art Center (2007). In 2005, Jorge Macchi, in collaboration with Edgardo Rudnitzky, represented Argentina at the Venice Biennale. His installation for the 2012 Liverpool Biennial, Refraction will be exhibited in June in the Art Unlimited section of Art Basel.
 
For press inquiries, please contact Sabina Roslyakova at 212 367-7474 or sr@alexanderandbonin.com.

James Weingrod: Hush Open Window Project
April 11 - July 27, 2013
 
Lori Bookstein Fine Art is please to announce a new installation by James Weingrod. This will serve as the inaugural exhibition of The Open Window Project and the artist‘s first solo-exhibition with Lori Bookstein Fine Art and his first solo-exhibition in New York.
 
The Open Window Project was conceived as a project space by which to showcase the work of emerging artists and those artists who may not necessarily fit into the gallery’s program. While the gallery has always maintained the tradition of representing a focused group of core artists, it is excited about the ways in which working with other artists through the Open Window Project will enhance the dialogue surrounding the gallery's primary agenda. The Open Window Project will occupy the street front window on Tenth Avenue between 18th and 19th Streets.
 
James Weingrod: Hush will feature a singular, kinetic installation that actively engages street viewers. Comprised of a twirling birdcage and a series of two-way mirrors, the installation becomes an other-worldly environment where images are repeated ad infinitum within the eerie enclosure. Fascinated by the complex scientific and mathematical principles by which we have come to understand the expanses of the universe and infinity, Weingrod attempts to visually depict the ways we have come to understand the universe through theory instead of observation. Admitting the inevitable failure of such lofty ideals, he has developed an artistic practice more akin to experimentation, whereby, through trial-and-error, he hopes to develop a larger dialogue around the ways we have come to understand the incomprehensible.
 
James Weingrod received his BA in visual arts from Brown University (2004) where he was the recipient of the Roberta Jocelyn Award for Excellence in Art. He received his MFA from Hunter College (2009). Weingrod has been exhibited in several group shows in New York, including “Big Drawing” in 2008 at Lori Bookstein Fine Art, and in his hometown of Providence, RI. Weingrod was an artist in residence at The Wassaic Project in 2010 and 2011. Upcoming exhibitions include his first Philadelphia Solo Exhibition, which is scheduled for September 2013. Weingrod lives and works in Brooklyn, NY.
 
James Weingrod will be on view from April 11 - July 27, 2013. An opening reception will be held on Thursday, April 11th from 6:00 - 9:00 pm. Gallery hours are Tuesday through Saturday, 10:30 am to 6:00 pm. Summer hours begin Monday July 8th and will be Monday - Friday, 10:30 - 6:00. For additional information and/or visual materials, please contact the gallery at (212) 750-0949 or by email at info@loribooksteinfineart.com.¬

For Immediate Release
 
Season Review Group Show
June 13 - July 31, 2013
 
Edward Thorp Gallery is pleased to announce Season Review a group exhibit comprising of works from gallery artists and a selection of works from artists who participated in the gallery’s 2012 - 2013 season. This overview will reflect a diversity of approaches in a wide variety of mediums from ink on paper to mixed media multi-panel works, large scale paintings on canvas to steel and tin sculpture.
Artists to be included:
 
Andrea Belag
Matthew Blackwell
Cora Cohen Neil Farber
Sarah Gamble
Clare Grill
June Leaf
Rachel Malin
Henri Michaux
Judith Simonian
Andrew Spence
Gary Stephan

Evan’s paintings primarily focus on the purely natural California landscapes surrounding him. To Evans, the places he paints are precious. They are close to his home, while not part of his everyday life; places driven past or walked by unnoticed in the usual course of events, blending in with the neutral gray of the common place-trees invisibly growing, clouds drifting by, the river flowing on and on without calling attention to itself. For Evans, each of these places holds vibrant secrets of intimacy and grandeur which, when revealed, revives him with life sustaining energy and a peaceful awareness of being embraced and protected by the whole world.
 
“Equilibrium is a state of balance between opposing forces, influences or effects. My work in creating landscape paintings involves the art of balancing compositional elements of water to sky, sky to earth, shadow to light, and original to reflection. As a painter I seek to strike a balance between the tactility of paint on the surface of the canvas and the illusion of depth and distance. As a member of a complex technological society I struggle to balance work and play, the conflicting economic forces of art and business, and the range of emotions in personal relationships. The contemplation of pure nature and the activity of artistic expression help me to find and keep my balance.” Christopher Evans 2013
 
Born in 1954 in Bremerton, WA, Christopher Evans trained in painting, sculpture, and graphic arts at the University of California, Los Angeles. This is his third Solo Exhibition at the Fischbach Gallery.

SIMON DENNY
All you need is data: the DLD 2012 Conference REDUX rerun
 
June 20 – July 27, 2013
 
Petzel Gallery is pleased to announce an exhibition by Simon Denny entitled, All you need is data: the DLD 2012 Conference REDUX rerun, from June 20 to July 27, 2013. This is the artist’s second exhibition with the gallery. A catalogue published by Koenig, including an interview with Hans Ulrich Obrist, texts by Karen Archey, digital law expert Michael Littger and an introduction by co-curators Bart van der Heide and Saim Demircan, will accompany the show.
 
All you need is data: the DLD 2012 Conference REDUX rerun focuses on the 2012 edition of Munich’s annual Digital Life Design (DLD) conference dld-conference.com/. The conference is a high caliber platform for the exchange of ideas between digital media, the sciences and culture, which had the theme “All You Need Is … DATA?” in 2012. Denny’s exhibition was first presented at the Kunstverein Munich at the beginning of the year, alongside the 2013 DLD conference.
 
For his exhibition, Denny has created a display structure for 89 canvases that represent a visual summary of events that took place at DLD12, harvesting insights from the many speakers such as Jack Dorsey (Twitter), Jimmy Wales (Wikipedia), Sheryl Sandberg (Facebook), Chris “Moot” Poole (4chan) and David Karp (tumblr), among others. The viewer is lead through the exhibition following a railing system that displays individual canvas “screens” that feature photos, pull-quotes and reconfigured stage and graphic designs from the conference. This content is flattened and depicted using iOS “skeuomorphic” style with app-like components. Only print media is used to illustrate the entire high-tech conference chronologically from beginning to end, forming what critic Kevin McGarry has described as “a structuralist memento mori”.
Simon Denny explores the materialization and commodification of “future visions and experiences,” and the lifespan of information in the context of fast paced, tech-driven commerce. The exhibition is a revealing format for how predetermined futures are promoted from the perspective of the digital economy. As such, the ‘REDUX’ in the title suggests a revisit of these future forecasts and is also indicative of the ‘Director’s Cut’ or a re-edit as a means of artistic appropriation.
Simon Denny was born in New Zealand in 1982 and received his degree at the Städelschule, Staatliche Hochschule für Bildende Künste in Frankfurt. He has had numerous solo exhibitions, with shows at the Aspen Art Museum and Kunstverein Munich in the past year. He will be included in this year’s Venice Biennial as well as have an exhibition at MuMOK, Vienna this summer as a winner of the Art Basel Statements Baloise Preis in 2012. He is also a nominee for this year’s German Nationalgalerie Preis at the Hamburger Bahnhof in Berlin. Simon Denny lives and works in Berlin.
Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM – 6:00 PM. Gallery hours will switch to our summer schedule, Monday through Friday from 10:00 AM – 6:00 PM starting July 8th through the end of the exhibition. For press inquiries, please contact Andrew Black at andrew@petzel.com, or call (212) 680-9467.
For general inquiries, please email andrea@petzel.com.

FOR IMMEDIATE RELEASE
Frank Nitsche | General Inn
May 31 – July 20, 2013
Opening Reception: Friday, May 31, 6-8 PM
 
PLEASE NOTE NEW LOCATION: 459 WEST 19TH STREET
 
Leo Koenig Inc. is pleased to present “General Inn”, Frank Nitsche’s third solo exhibition with the Gallery. “General Inn” centers on new paintings and a corresponding column of empty beverage cans that are wrapped and covered with commercial stickers collected throughout Nitsche’s world travels. The exhibition extends Nitsche’s considerations of the ubiquitous lines that permeate urban landscapes. The juxtaposition of the paintings and commodified pillar hints at the artist’s source material and reveals a formal consolidation of circulated signs into large-scale geometries.
 
In Frank Nitsche’s most recent work one encounters a filtering of process that traces the artist’s painterly trajectory towards elemental components. Working from his extensive archive of collected media clippings that range from images of catastrophe to financial graphs, Nitsche mentally and physically catalogues these materials to develop a contemporary and comparative ideation of form. These forms do not necessarily represent a static sum, but instead illustrate an evolving typology of images that shape and inform social codes.
 
Nitsche’s visually restrained paintings emerge from an intricate progression of previous experiments that belie the elegant simplicity of the final image. The artist sands, corrects, rebalances and overpaints, creating an opaque palimpsest that translates his cataloging process to the canvas. The result is deceptively minimal paintings. Nitsche completes the clearly defined shapes with hooks, ties and lines, as if transposing the ligatures of an unidentified calligraphy. The architectural compositions are familiar but impenetrable; the smooth and slick surfaces, along with the serial titles, intentionally obscure their varied referents.
 
Nitsche’s methods neither articulate nor influence; rather they elicit the potentiality for experience. For this reason, Nitsche’s work concentrates on form rather than language; materials are already fraught with meaning. To this end, Nitsche has narrowed his color palette to blacks, greys and whites. This tonal restraint isolates and intensifies an examination of structure, vertices, lines and how they intersect. While this may be initially interpreted as an ascetic reduction, the gradual physical changes and layered history of the paintings unveil the hidden opulence of the color white. Rather than presenting his paintings and sculpture as a fixed or complete language, Nitsche offers the viewer an atlas.
 
Frank Nitsche’s work has been the subject of solo exhibitions at Musee d’Art Moderne et Contemporain, Strasbourg, France; Museum Morsbroich, Leverkusen, Germany; Galerie Max Hetzler, Berlin; Art & Public, Geneva; and Galerie Nathalie Obadia, Paris. Recent group exhibitions include I am a Berliner, Tel Aviv Museum of Art; HELLO CHINA, Brandenburgerischer Kunstverein, Potsdam, Germany; Abstract Confusion – Malerei, Skulptur, Video, Kunsthalle Erfurt, Germany; and the Prague Biennale 5. His work is featured in the collections of: The Museum of Modern Art, New York; Tate Modern, London; Centre Georges Pompidou, Paris; and Museum Ludwig, Köln, Germany. Frank Nitsche lives and works in Berlin.
 
Gallery hours of operation are Tuesday – Saturday, 11am – 6 pm. For further information, please contact the gallery at +1 (212) 334-9255 or info@leokoenig.com

Curated by Nina Horisaki-Christians, Andrea Neustein, Victoria Rogers, and Jason Waite, Helena Rubinstein Curatorial Fellows of the Whitney Museum Independent Study Program
 
Maintenance Required examines the large-scale systems that construct our daily lives through an investigation of the diversity of maintenance tasks. Durational by nature, maintenance networks provide life-perpetuating mechanisms of care, yet these systems have the potential to invisibly direct or limit life’s possibilities, even manifesting as malevolent systems of control. By dismantling our collective blindness toward maintenance activities, we can begin to examine how they condition our lives. Bringing maintenance into view exposes a constantly shifting set of social, political, and affective relations. Acknowledging maintenance systems invites questions about what needs to be maintained and under what conditions that maintenance occurs. Taking as an entry point Mierle Laderman Ukeles’ “Manifesto for Maintenance Art” (1969), in which the artist redefines maintenance activities as art, Maintenance Required focuses on artistic practices that frame and critically engage these invisible systems of life support: practices that articulate the paradoxical tensions of large-scale systems of maintenance whose power to sustain life may run parallel to the power to constrain it.
 
With works by Michael Bramwell, Goldin+Senneby, Ashley Hunt, Masaru Iwai, Yve Laris Cohen, Sam Lewitt, Park McArthur, Salvage Art Institute, Karin Sander, Taryn Simon, Pilvi Takala, and Mierle Laderman Ukeles.
 
Public Performances
Integral to the exhibition, performances will be occurring over the duration of the exhibition in the gallery and “maintenance” spaces such as the back rooms of the Kitchen and at Regus offices on Wall Street. All events are free and open to the public; for seated events, seats are available on a first-come, first-served basis.
 
Masaru Iwai
 
Washing Stage
 
Thursday, May 30, 5:00pm
 
Saturday, June 1, time TBA
 
Saturday, June 22, time TBA
 
Further performances TBA, please check website for updated details.
Repurposing the act of cleaning, the Tokyo-based artist Masaru Iwai will focus on the ritualistic act of cleaning and its relationship to the body while foregrounding the aesthetic materiality of the purifying act.
 
Yve Laris Cohen
 
Seth
 
Saturday, June 1, 8:00pm
 
Thursday, June 20, 8:00pm
 
In a new site-specific performance, Yve Laris Cohen meditates on the unused and unseen spaces of The Kitchen, responding to the history of the institution, the neighborhood, and the medium of performance. Exploring duration, perception, and the limits of human movement, Laris Cohen considers how maintenance, as well as the lack thereof, reveals our predilections and desires. This program is free of charge and open to the public. Space for the event is extremely limited. Reservations required; please register at maintenance.required.2013@gmail.com.
 
Ashley Hunt
 
Corrections
 
Thursday, June 6, 7:00pm
 
In his ongoing interdisciplinary project The Corrections Documentary Project, artist and filmmaker Ashley Hunt investigates the institution of the prison: how it helps to structure and preserve racial and economic divisions within society. In Corrections (2001), Hunt specifically looks at the privatization of the prison system, exposing the conflict between for-profit corporations focused on pleasing investors and the communities which must deal with the consequences of high incarceration rates.

“I was born to a father who wore an airline uniform. For most of my childhood, he lived and worked in another country. Each summer I would be flown from Beirut to Dhahran as an unaccompanied minor, but he always made sure he booked me on a flight where he knew at least one, if not all, of the Flight Attendants, or rather stewardesses as they were then known.
 
I always flew First Class, looking like Lily Tomlin’s Edith Ann, a tiny kid in a huge chair. I was totally coddled, fed, and entertained by the stewardesses who took personal care of me until I was delivered either to my dad or to my aunt, when returning to Lebanon. Flight Attendants epitomized international glamour and adventure to me. Growing up, I often dreamed of becoming one, until I took my first class in photography as a junior in high school in the Virginia suburbs of Washington, DC.
 
Like most Lebanese parents, mine would have greatly preferred my becoming a doctor, a lawyer, or an architect. Although I did have an interest in medicine, I had been passionate about photography ever since I developed my first print—an abstract array of shopping carts—in a tray of Dektol. As my eighteenth birthday approached, I also realized that my airline benefits would soon come to an end. I wouldn’t be able to jaunt around the world at will, for free—something I had been used to all my life.
 
My only solution was to follow my childhood dream and become a Flight Attendant. A few months before turning twenty, I started sending applications to Pan Am and TWA, two of the major international airlines at the time. I was hired by¬ Trans World Airlines on my twentieth birthday, and on February 26, 1978, I reported to Breech Training Academy, the most renowned and modern flight attendant school in the industry.”
-Lucien Samaha, April 2013
 
Lombard Freid Gallery is pleased to present New York-based photographer Lucien Samaha’s The Flight Attendant Years: 1978-1986, the artist’s first exhibition with the gallery. Samaha has been a photographer since high school and has obsessively documented his personal and professional life for over 40 years, producing a rich, highly autobiographical body of work. This show will debut vintage color and black-and-white photographs from his time as a Flight Attendant for Trans World Airlines, giving a behind-the-scenes look at a bygone era. These striking, intimate images will be exhibited with a variety of archival objects, including Samaha’s golden flight wings, personal correspondence, and TWA memos.
 
Samaha’s photographs from the late 1970s and early ‘80s record a particular intimacy between Flight Attendants, pilots, and passengers that was rarely revealed at the time—and is certainly not seen in today’s climate of heightened airline security. The Flight Attendant Years covers all aspects of daily life: training sessions, uniform fittings, in-flight fraternization, and layover breaks. Samaha’s eye for detail and composition, matched with his direct access to his subject matter, allows for his documentary photography to exist within an extremely personal and aesthetic milieu. His images—Polaroid snapshots, elegant candid portraits, and group photographs—emphasize the spirit of adventure and conviviality integral to his surroundings.
 
Samaha has continued to be in touch with many of his former colleagues, and the gallery will serve as a portrait studio for current and former flight attendants who are being invited (through postings at airlines and hotels) to visit the gallery on Saturdays, June 8, 15, and 22, from 12:00 to 5:00 PM. The portraits will be on view in the gallery and posted to lombardfreid.com and luciensamaha.net.
 
Lucien Samaha (b. 1958, Beirut) is a New York-based photographer whose work has been shown internationally, including in exhibitions at the Museum für Moderne Kunst, Frankfurt and at the Cooley Gallery, Reed College, Portland. He was a finalist for the 2004 Nam June Paik Award. After his time at TWA, Samaha worked for Eastman Kodak Company and then as a DJ on the 107th floor of the World Trade Center, continuing to document his hours at work and his personal life.

October 18, 1977 opens at Klemens Gasser & Tanja Grunert 524 West 19th St, New York, NY on Thursday, June 20, 2013- Friday, July 19, 2013. Summer hours start July 8: Mon-Fri 10 am – 6 pm
 
An exhibition organized by Birgit Rathsmann in collaboration with Michele Abeles, Erica Baum, Neil Bender, Becket Bowes, Tania Cross, Grayson Cox, Anthony Lepore, David Lukowski, Oliver Kossack, Jessica Mein, Filip Noterdaeme, Dominic Nurre, Paul Pfeiffer, Jochen Plogsties, Claudia Pena Salinas, Daniel Rich, Siebren Versteeg, Jenny Vogel, Kristof Wickman and Jeff Williams.
 
New York, NY April 18, 2013 — On a single night, three terrorists in a high-security prison die, allegedly by their own hands; a fourth is hospitalized with allegedly self-inflicted stab wounds to the chest. Ever since, the events of the “Death Night” of the members of the Baader-Meinhof group have reverberated through German society and culture. But what might those events mean to artists in another country gripped by fear of radical terrorists, albeit a generation removed and an ocean away? How might today’s artists respond to iconic pieces that addressed the events in their immediate aftermath? Those are the questions that guided Brooklyn artist Birgit Rathsmann as she worked with 19 other artists from the U.S. and Europe to develop October 18, 1977. The exhibition is a meditation on that infamous night when Andreas Baader and three others were found dead or wounded in their prison cells — as well as on the images that earlier artists created in response to the events of that night. Rathsmann “commissioned” new pieces and collaborated to varying degrees with the participants in the exhibition. This created a dialog among artists who share Rathsmann’s interest in the questions raised by the events of October 18, 1977 and those raised by earlier artworks that address those events. In other words, Rathsmann didn’t curate this show; she served as its catalyst. Many of the questions she and the exhibition’s other artists examine have lingered for 36 years: Did the terrorists have a suicide pact? Was it set into motion when they learned that a hijacking intended to win their freedom had failed? If so, how did Andreas Baader and another terrorist manage to get guns into the isolated, high-security cells where they were held in solitary confinement? How did Baader manage to shoot himself in the back of his head? Why were there no fingerprints on either of the guns? How was the sole survivor of that night able to stab herself in the chest four times? Is there evidence to support her allegation that the deaths were summary executions rather than suicides? Those and other questions about that night encapsulate the dramatic relationship between the state and violent non-conformists — a relationship that becomes more relevant with each new act of mass violence. A number of works in October 18, 1977 respond directly to the eponymous cycle of 15 paintings by Gerhard Richter which depict the dead terrorists and the prison where they died. The paintings are in the permanent collection of the Museum of Modern Art (169.1995), far from the location of their creation and the events that inspired them. Other works in this exhibition directly address specific aspects of the deaths and their cultural setting: the psychological effects of prolonged solitary confinement, the aesthetics of mid-twentieth century German institutional architecture, and the era’s proliferation of ‘zine-like publications that openly expressed sympathy for terrorist organizations. Some works even go so far as to imagine alternative histories. Taken together, the works in the exhibition present a multifaceted examination of that confounding historical moment in the Germany of 1977 and its lingering cultural influence — an examination that’s especially relevant in New York City of 2013.
 
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For more information please contact: HYPERLINK “mailto:gassergrunertsummer@gmail.com” gassergrunert@gmail.com 646.944.6197 For press inquiries and images contact: Margaret Fasel HYPERLINK “mailto:margaret@gassergrunert.net” margaret@gassergrunert.net 816.289.2693

David Zwirner is pleased to present the world debut of a new series of sculptures in the gallery’s West 19th Street spaces.
 
One of the most prominent artists working today, Jeff Koons is well known for his bold paintings and sculptures. Typically working in series, his art holds up a mirror to contemporary consumer culture, using the photorealistic, commercial aesthetic familiar from an earlier generation of Pop artists to generate his own unique and universally recognizable style. His subjects range from toys to inflatables to household items to luxury goods and sexualized imagery. His references to popular media are evidenced not merely in his choice of subject matter but also in his visual techniques: his sculptures often involve smooth, glistening surfaces while his paintings employ bright and saturated colors.
 
Born in 1955 in York, Pennsylvania, Koons studied at the Maryland Institute College of Art in Baltimore and the School of the Art Institute of Chicago. He received his B.F.A. from the Maryland Institute College of Art in 1976.
 
Beginning with his first solo exhibition in 1980, Koons has exhibited steadily in the United States and abroad. His work was the subject of four major solo presentations in 2008, including a large survey at the Museum of Contemporary Art in Chicago; Celebration sculptures shown on the rooftop of the Metropolitan Museum of Art in New York and at the Neue Nationalgalerie in Berlin; and an exhibition at the Château de Versailles, which opened its doors to a living artist for the first time with Jeff Koons: Versailles. He presented the Popeye series at London’s Serpentine Gallery in 2009, and Artist Rooms, a collection of contemporary art jointly owned by Tate and the National Galleries of Scotland, toured until 2011. In 2012, the artist had his first solo show in a Swiss museum at the Fondation Beyeler in Basel as well as concurrent shows in Frankfurt at Schirn Kunsthalle, with an exhibition of paintings, and at Liebieghaus Skulpturensammlung, where his sculptures were shown alongside permanent collection works.
 
A major retrospective is being organized by Scott Rothkopf, Curator of the Whitney Museum of American Art in New York. Opening in January 2014 at the Museum of Contemporary Art in Los Angeles, it then goes to the Whitney in June, and travels to Centre Georges Pompidou in December, with possible additional venues in Europe. This will be the first ever one-person show to occupy all five floors of the Whitney. It will mark the final exhibition at the Marcel Breuer-designed building on Madison Avenue, before the Whitney moves into its new building in downtown Manhattan, near Chelsea and the High Line.
 
Koons earned renown for his public sculptures, such as the monumental floral sculpture Puppy (1992), shown at New York’s Rockefeller Center and permanently installed at the Guggenheim Museum Bilbao. Another floral sculpture, Split-Rocker (2000), was installed at the Palais des Papes in Avignon and at the Château de Versailles.
 
Koons has received numerous awards and honors in recognition of his cultural achievements. In 2012, he was recognized by Secretary of State Hillary Rodham Clinton for his participation in the U.S. Department of State’s Art in Embassies program. Created to promote deeper cultural understanding through sharing art, the program — which marked its 50th anniversary in 2012 — selects and displays artwork purchased or borrowed for embassies, consulates, and ambassadors’ residences. In 2009, he received the John Singleton Copley Award from the American Associates of the Royal Academy Trust and the Governor’s Awards for the Arts (from the Pennsylvania Council on the Arts), where he was given the Distinguished Arts Award. In 2007, former French President Jacques Chirac promoted Koons to Officier de la Légion d’honneur.
 
Work by the artist is in numerous public collections, including The Broad Art Foundation, Santa Monica, California; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Los Angeles County Museum of Art; Museum of Contemporary Art, Tokyo; Museum Ludwig, Cologne; The Museum of Modern Art, New York; National Gallery of Art, Washington, D.C.; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art, New York. He lives and works in New York.

Curatorial Statement by A.E. Benenson:
At the birth of modern computing, a paradox: only after Alan Turing theorizes an infinitely large computer do we begin to plausibly imagine how our world could be digitally remade as small as possible. That is, it’s
only after Turing fixed our technological gaze outwards onto infinity that we began our relentless dwindling inwards, towards miniaturized circuits and virtualization. Taking this contradictory movement as both its content and form, the exhibition Vanishing Point presents views of a contemporary digital vastness that is both boundless and barely there.
 
By understanding computing as an ongoing experiment in the incommensurate, the artists in this exhibition draw the discipline of computing into various unlikely associations: outer-space, the afterlife, Abstract Expressionism, Greek Tragedy. And yet at the same time, there is a move to deconstruct the traditional aesthetic associations with the infinite (e.g. “the sublime”) in terms of a contemporary virtual sprawl that is often pathetically insignificant, banal and quotidian. These analytical impulses are tempered with modes of address that are more lyrical, less direct; formal experiments within the contradictions of a new vastness that is simultaneously too large and too small to be fully apprehended.
 
Here, “vanishing point” refers not only to the infinitely distant and small destination where everything rushes to converge, but also to a potential moment of disappearance – an event horizon where technology swallows something once and for all…what exactly – irrationality, expressivity, scarcity, suffering? Nothing in this exhibition claims to know with certainty. The objective is not to make predictions, but to press ourselves a little closer to the arc that bends towards the limit.
 
the universal Turing machine, 1936
 
Exhibited Works:
Annie Dorsen, “Hello, Hi There”, 2011-2013
Kyle McDonald, “Only Everything Lasts Forever”, 2009
Boris Meister, “Above the Cloud – Archaeology of Social Networks”, 2012
RAND Corporation, A Million Random Digits with 100,000 Normal Deviates, 1955
Elaine Reichek, “SETI”, 2004
Sebastian Schmieg, “Search by Image”, 2011-ongoing
Mungo Thomson, “Einstein #1”, 2008
Clement Valla, “Paintings from Wushipu”, 2009
Siebren Versteeg, “doorformsbitman6000x6000_323 (2x3)”, 2013
 
This exhibition marks the US debut of artist Boris Meister, and the NYC premiere of recent works by Kyle McDonald, Sebastian Schmieg, Clement Valla and Siebren Versteeg.
 
Public Program:
A tour of the exhibition with curator A.E. Benenson will take place Thursday, June 27, at 5:00 PM.
It is free and open to the public. RSVP: info@bitforms.com

Ricco/Maresca is pleased to present Marcos Bontempo: Dancing in the Void. This show marks the first time the gallery has brought the intricate and enigmatic works of the artist together in a solo exhibition. Born in Argentina in 1969, Bontempo moved with his family to Spain at the age of 6. He currently resides in Ronda, a culturally edifying city known for its stunning views and rich history. Bontempo, often viewed as complex and elusive, spends his days walking his dog through the town pocketing inspiration from the creative energy and natural beauty of the world that surrounds him.
 
In addition to his kinship with nature, Bontempo’s ingenuity can also be traced to his intermittent battles with schizophrenic episodes. Unencumbered by the outside world, the artist finds clarity in his work. Driven by both his environment and personal demons, Bontempo sits alone in his studio every day painting his own emotionally charged world filled with mental dissonance, adversity, and subtle glimpses of the hope aroused by the healing power of creation.
 
The exhibition brings together a powerful selection of paintings from Bontempo’s highly personalized and unique body of work. Bold in color and marked by ardent brushwork, the pieces portray a multifarious array of distorted bodies, floating in the pictorial plane while engaged in a disconcerting yet mystifying dance. His figures- some human, others more animalistic- emanate a personified amalgamation of cognitive agitation and freedom through physical malformation and cathartic expression. To create these lively and emphatic paintings, Bontempo uses ink or acrylic paint in combination with salt or iron. His dark palette of deep reds, blue, gold, and black embodied in fervent gestural abstraction are seemingly indicative of a primacy, misplaced and overthrown, and serve as a gentle reminder that both pain and normality are relative to one’s own experience.
 
Marcos Bontempo’s gentle and honest deportment is memorable on both a personal and professional level and he remains a welcome addition the gallery. His work is in several private collections in both the United States and Europe. Marcos Bontempo: Dancing in the Void will be on view at Ricco/Maresca May 16- June 15, 2013.

Skoto Gallery is pleased to present a group exhibition of photographic works by ten Nigerian artists who are among a new generation of African photographers that explore unique visions, strong emotional and aesthetic perspectives to tell their own stories and challenge assumptions about the African continent. Each of the artists is widely traveled and well exposed to Western art modernism both by training and contact. Each represents a resonant voice, one that achieves it's own distinction and clarity amidst changing realities. Their creative voices are simultaneously instrumental, reconstructive if not interrogative and in some cases seek to retrieve both individual and collective memory. For many of the artists, this would be their first show in New York.
 
The reception is on Thursday, May 30th, 6-8pm
 
GO-SLOW: Diaries of Personal and Collective Stagnation in Lagos
New Directions in Contemporary Photography
 
Aderemi Adegbite
Ade Adekola
Akintunde Akinleye
Uche James Iroha
Chriss Nwobu
Adeniyi Odeleye
Abraham Oghobase
Charles Okereke
Uche Okpa-Iroha
Adeola Olagunju
 
Exhibition dates: May 30th - July 31st, 2013
 
In spite of the dynamic, lively, and often intensely volatile elements of life in Nigeria’s largest city, all who live there share in a daily narrative of delay. Lagosians experience go-slow in the form of impenetrable traffic jams, on the part of political leaders who make promises quickly followed by excuses, and when even a simple task becomes a major undertaking.
 
While the phenomenon of go-slow is a common cultural reference, its effects and impacts are as individual as the people who experience them, resulting in reactions that range from frustration, exhaustion, and anxiety to resignation, acceptance, and innovation in the face of a seemingly immutable reality.
 
Most showing for the first time in New York, ten Nigerian photographers explore the particular phenomenon of the Lagos go-slow through the context of personal or collective experiences demonstrating a keen awareness of the role that photography plays in strengthening the crucial links between culture, politics, and social agency.
 
Curator: Amber Croyle
 
10 LIVELY FRAMES - ONE SUBJECT: GO-SLOW-GO-SLOW
 
“Go-slow: Diaries of Personal and Collective Stagnation in Lagos”, as this photography exhibition is titled and focused, is a reality as well as a metaphor for the drudgery that characterizes diverse aspects of structural mobility in cosmopolitan Lagos. Fela Anikulakpo-Kuti, the veteran Afro-beat musician, satirist and social critic in 1978 put out a record track titled “Go-Slow”. The track explored the metaphoric gradations of “Go-Slow” as a reality in the day to day life of the Lagosian. The refrain of the track “go-slow, go-slow” aptly conjured the truth of the phenomenon while assuming landmark status of a resonating rhyme in the collective consciousness of Nigerians.
 
The diverse social and historical contexts that frame this seeming eternal characterization of Lagos have often provided photographers the contexts to invest their creative time and thoughts. The result is a corpus that keys into the testament projected by the city of Lagos as it allows for the exploration of the nuances of “go-slow” beyond a spatial identity.
 
The lively frames that the concept “go-slow” yields are thus presented in this exhibition from the experiences or encounters of cosmopolitan Lagos by the artists. Thus, from Aderemi Adegbite, Ade Adekola, Akintunde Akinleye, Uche James Iroha, Chriss Nwobu to Adeniyi Adeleye, Abraham Oghobase, Charles Okereke, Uche Okpa Iroha and Adeola Olagunju comes a bouquet of visual interpretations of the Lagos “go-slow” experience in representational and conceptual frames.
 
The exhibition plan designed to introduce to the New York audience “new directions in contemporary photography” by a crop of modern generation photographers from Nigeria is apt considering how identities are constructed. However, this objective presupposes a hierarchy that hosts these artists. Hence, I engage a brief narrative which situates the genre in Nigeria. Early uses of photography in the West Coast of Africa, from Gambia to Nigeria were documentary commissions from the English colonial authorities (Erin Harney, 2010). These include the works of J. P. Decker, a Gambian, and N. Walwin Holm, a Ghanaian who had a branch of his photography studio in Lagos. Apart from the portraitures associated with his studio, he also worked for the British as a documentary photographer. A Nigerian of note of Ijo nativity from Bonny, Jonathan Adagogo Green (1873 – 1905) was similarly engaged by the British colonial administration in Nigeria. His many choreographed portraits and group images are counted among over three hundred photographs from his atelier between 1897 and 1905. One of his very famous works that entrenches the memory of the British punitive expedition against Benin City is the apparently dehumanized Ovoramwen N’gbaisi, the Oba of Benin in the expedition year 1897.
 
It is interesting to note that Adagogo Green’s seal for his photographs bore his name with an added inscription; “Artist Photographer”. In spite of this claim, considering also the strong foregrounding of photography in the practice of the visual arts, it is only recently that its status as high art was acclaimed. This recognition has inspired new initiatives to track the multilayered history of the genre in Nigeria. Equally, exhibitions of photography now compete with those of other arts. However, an austere history of photography in Nigeria accommodates the following personalities; George S. A. Da Costa, J. D. ‘Okhai Ojeikere, Dotun Okubanjo, Sunmi Smart-Cole and Don Berber. Don Berber is, within this history, a mentor to many new generation photographers who have featured in this exhibition with their visual interpretation of go-slow in Lagos.
 
In reality, the history of photography in Nigeria is in tandem with the global history of photography. This is that photography, as an expressive mode that documents phenomena as fleeting time permits, is governed by epistemes, which are palimpsest, and allow a loose ordering of identities. The image-turn, which is on the ascent in the contemporary, bears witness to deep creative exploits with the lens and the digital interface. Invariably the production and consumption of images in the artistic-scape in Nigeria has remained strong probably because of the power of the image to determine our demands upon reality. These realities shape the metaphors of focus here their enduring vehicular and often pedestrian gridlocks. This is Lagos.
 
Frank Ugiomoh, 2013
Art Historian
University of Port Harcourt
Port Harcourt, Nigeria

“In the early 1990‘s it was very evident the computer was changing the mystery genre as we knew it. ’Place' as we know it does not exist in the cyber world, this confluence of media is redefining the lines between what we refer to as fiction and reality. Each diptych from the ”Mysteries“ has a chronology: the scene on the left is the past of the scene on the right, which is its future. But the chronology is incomplete. The time n the pictures is as broken up as the space.”

Guided by Invoices is pleased to present Signature Works, a group exhibition of work from gallery artists.
 
The exhibition will include recent paintings from Charles Andresen, Cora Cohen, Nora Griffin, David Rhodes, Sean Scherer, Carol Szymanski, and Rafael Vega. Additionally on view will be new curved-crease origami from Erik and Martin Demaine, a sound installation by Sebastien Leon, and in situ work on the gallery’s windows by Stephen Pusey.
 
Fluorescents after dark, the palette of satellites, Isaac Newton’s solfège rainbow, and hyperbolic origami in red, white and blue: I guess it’s Summer 2013.
 
For further information, please contact info@guidedbyinvoices.us or visit the website www.guidedbyinvoices.us.

The Cut
 
The cut on her face
The blood from under her skirt
A red fountain carries me
Towards my destiny
 
The cut in the sky
Out pour father‘s eyes
Dive deep in the snow
Cold seed for the spring
Harvest of my creativity
 
The cut on her face
Portal of our race
Spurned majesty sighs
For that cut!
 
Sikkema Jenkins & Co. is pleased to present The Cut, a solo exhibition of work by Antony on view from May 31st through July 12th, 2013.
 
Antony has created a body of work including drawing, collage, and sculpture alongside his critically acclaimed musical career as both a singer and composer. Both his music and visual art are marked by intuitive and accumulative practices that reflect a shared visual and psychological vocabulary. The initial inspiration that provided the framework for the exhibition was a poem written by the artist entitled The Cut, which describes the source of creation as a slit in the sky. The marks that the artist makes on the surface of his artwork can at once be understood as scars as well as applications that have the ability to heal the surface of the paper, fabric, or canvas. A delicate line can be juxtaposed with a harsh application of paint or a torn edge. Many of the works are intimate in scale and ephemeral in their materiality, but they are monumental in the emotional depth that they convey. Like Joseph Beuys, Antony’s work originates in personal experience yet it also addresses universal artistic or social ideas and poetically suggests the healing potential of art.
 
Born in Chichester, West Sussex, England in 1971, Antony currently lives and works in New York. Since 2000, he has released four studio albums with his band Antony and the Johnsons. A special edition of the band’s 2010 album Swanlights was accompanied by a book published by Abrams Image featuring drawings and collages by Antony as well as photographs by Don Felix Cervantes in collaboration with Antony. Solo exhibitions of his artwork have been presented at Isis Gallery, London in 2009 and The Armand Hammer Museum of Art, Los Angeles in 2012. His work was included in It’s not only Rock’n’Roll, Baby! presented at BOZAR, Brussels in 2008 and at the Triennale Bovisa, Milan in 2010. In 2009 he curated the group show 6 Eyes at galerie du jour agnès b., Paris. Antony’s performance projects include Miracle Now (1996); TURNING (2004/2006), in collaboration with Charles Atlas; and The Crying Light (2009). Antony was musical director of The Life and Death of Marina Abramović (2011) in collaboration with Abramović and Robert Wilson. Commissioned by the Museum of Modern Art, New York, his performance Swanlights debuted at Radio City Music Hall in 2012.

For Immediate Release
April 30, 2013
 
Dia Art Foundation presents Thomas Hirschhorn’s Gramsci Monument from
July 1–September 15, 2013
 
Thomas Hirschhorn’s first Monument in the United States and Dia’s first public commission since Joseph Beuys’s 7000 Oaks in 1996
 
(New York, NY) – Dia Art Foundation will present Gramsci Monument, a new artwork by Thomas Hirschhorn, on the grounds of Forest Houses, a New York City Housing Authority development in the Morrisania neighborhood of the Bronx, New York. Gramsci Monument will be open to the public from July 1–September 15, 2013.
 
MONUMENT
“My decision to do Gramsci Monument does not come from an understanding of the philosopher Antonio Gramsci, rather it comes from my understanding of art and my belief that art can transform.” — Thomas Hirschhorn
 
Gramsci Monument is the fourth and last in Thomas Hirschhorn’s series of “monuments” dedicated to major writers and thinkers, which he initiated in 1999 with Spinoza Monument (Amsterdam, The Netherlands), followed by Deleuze Monument (Avignon, France, 2000) and Bataille Monument (Kassel, Germany, 2002). This fourth monument pays tribute to the Italian political theorist and Marxist Antonio Gramsci (1891–1937), famous for his Letters and Prison Notebooks (1926–1937). Gramsci Monument is based on Hirschhorn‘s will “to establish a definition of monument,’ to provoke encounters, to create an event, and to think Gramsci today. My love for Antonio Gramsci is the love of philosophy, the love of the infinitude of thought. It is a question of sharing this, affirming it, defending it, and giving it form.”
 
NON-EXCLUSIVE AUDIENCE
Over the years, Hirschhorn has maintained a commitment to presenting his work in exhibition spaces such as museums and galleries, but also in “public space”: urban settings, sidewalks, vacant lots, and communal grounds of public housing projects. Every work of Hirschhorn’s aims to include the Other, and address what he calls a “non-exclusive audience.” “The Gramsci Monument will remain an affirmation of an autonomous art work that is made as a gesture of love. This gesture doesn’t necessarily call for an answer; it’s both utopian and concrete. I want to create a new form, based on my love for a “non-exclusive audience.”
 
“Gramsci Monument is a defining project for Dia, and working with Thomas is both a privilege and a learning experience. Every day we learn from his uncompromising commitment to art and audiences,” says Philippe Vergne, Director, Dia Art Foundation. “Gramsci Monument reinforces Dia’s commitment to off-site commissions, which is at the center of our mission. I am confident that through this project Dia will become a different, stronger institution — one that is even more engaged with the reality of art today.”
 
PRESENCE AND PRODUCTION
With Gramsci Monument, Hirschhorn will apply his guidelines for “Presence and Production” by being present and producing on location during the full course of the project. “To be ‘present’ and to ‘produce’ means to make a physical statement, here and now. I believe that only through presence—my presence —and only through production —my production— can my work have an impact in Public Space or at a public location.”
 
Hirschhorn’s ambition is to create through his work, a form of “co-existence,” where questions of autonomy, authorship, and energy are addressed, challenged, and ultimately reinvented.
 
FORM/PROJECT
Gramsci Monument will take the form of an outdoor pavilion constructed with easily available, “unintimidating,” everyday materials. The structure will be built—and later dismantled—by local residents of Forest Houses, coordinated by Hirschhorn and Erik Farmer, Forest Houses Resident Association President and long-time resident. As was the case in his previous monuments, it is the artist’s intention that Gramsci Monument be built and run with the help of local residents, employed temporarily and involved at every stage of the project.
 
The structure will include an exhibition space with a selection of archives and a library with books by (and about) Antonio Gramsci, borrowed from the Fondazione Istituto Gramsci in Rome, Casa Museo di Antonio Gramsci in Ghilarza, Italy, and the John D. Calandra Italian American Institute in New York, a theater platform, a workshop area, a lounge, an internet corner, and the Gramsci Bar, which will be run by local residents. The Gramsci Monument will be open daily, offering a daily program of lectures by philosopher Marcus Steinweg, a children’s workshop run by Lex Brown, a play titled the Gramsci Theater, a radio station, and a daily newspaper. Weekly programs will include Gramsci Seminars led by eleven scholars, Poetry Lectures and Workshops led by eleven writers, Art Workshops led by Hirschhorn, open microphone events coordinated by the community, and field trips organized by the project’s “ambassador,” Dia curator, Yasmil Raymond.
 
In order to be continuously present on location throughout the production of his artwork, Hirschhorn will temporarily reside in the South Bronx (from July 1 - September 15) with Lex Brown, Marcus Steinweg, and Dia’s curator, Yasmil Raymond.
 
“It has been a privilege to work alongside Thomas as he puts forth a new idea of the monument and creates an active space of exchange between people, ideas and communities. The depth of his engagement is exceptional. Thomas has the absolute will to include others, and wants to put the whole world in his work,” said Raymond,. “We are deeply grateful to NYCHA Chairman John Rhea and the hardworking team at NYCHA for embracing this project. Above all, our most profound gratitude goes out to the residents of Forest Houses —in particular Erik Farmer, Clyde Thompson, and Diane Herbert —for joining us in this beautiful effort and offering a firm handshake from day one.”
 
Hirschhorn has also created a website as part of the Gramsci Monument. It is an informative platform offering texts, notes, pictures and videos documenting the process of the artwork, from its earliest sketches. The website will be updated daily with the productions, philosophy lectures, newspaper and radio streaming that have taken place. It will also offer a “press-kit” with pictures and texts available for publication (free of rights). The website, following the monument’s guideline, is meant to be temporary, and will end on December 31, 2013. For additional information, visit www.gramsci-monument.com.
 
LOCATION
To realize this project, Dia and the artist are collaborating with the New York City Housing Authority (NYCHA). Hirschhorn began “field work” two years ago, visiting forty-six Public Housing sites all around New York City, and meeting with residents in three boroughs, before focusing on seven locations in the Bronx: Castle Hill, Soundview, Monroe Houses, Patterson, Bronx River, Claremont and Butler Houses and Forest Houses. The “encounters” at Forest Houses with Diane Herbert, Clyde Thompson and Erik Farmer were decisive for Hirschhorn: “I was challenged and taken seriously. These were the real encounters between me and the Other—and one can easily understand that without these encounters, no decision regarding a possible location can be taken. This is why the Gramsci Monument will take place at Forest Houses.”
 
“The New York City Housing Authority is very much looking forward to our residents engaging in this very special endeavor,” said NYCHA Chairman John Rhea. “We especially thank artist Thomas Hirschhorn for bringing his unique vision to public housing, and totally involving Forest Houses residents. And we thank Dia Art Foundation for its generosity in making this artistic effort possible.”
 
Gramsci Monument will be Dia’s first public commission in New York City since 1996, when Dia extended Joseph Beuys’s 7000 Oaks on West 22nd Street from 10th to 11th Avenues. The opportunity to work with Hirschhorn represents a new manifestation of Dia’s commitment to enabling artists to achieve ambitious projects that cannot be realized within the museum context. In anticipation of the Gramsci Monument, from September 15–November 3, 2012, in New York City, Dia presented Timeline: Work in Public Space, which comprised a 30-foot linear layout of images, written statements, and text excerpts chronicling Hirschhorn’s interventions in “public spaces” in urban and rural sites from 1989 to 2011.
 
Dia Art Foundation offers special thanks to the New York City Housing Authority. Major support for Gramsci Monument has been provided by The Andy Warhol Foundation for the Visual Arts and Maja Oeri and Hans U. Bodenmann. Generous support has been provided by Dia’s Commissioning Committee: Jill and Peter Kraus, Leslie and Mac McQuown, Genny and Selmo Nissenbaum, and Liz Gerring Radke and Kirk August Radke; public funds from Pro Helvetia, the Swiss Arts Council; and the Jan Michalski Foundation. Additional support has been provided by the Martin and Rebecca Eisenberg Foundation, Pamela J. Joyner and Alfred J. Giuffrida, Stéphane Samuel and Robert Melvin Rubin, Lenore and Adam Sender, and public funds from the New York City Department of Cultural Affairs.
 
RELATED PROGRAM
Conversations and Lectures
Thomas Hirschhorn in conversation with Yasmil Raymond
 
Saturday, May 11, 2013, 6 pm
545 West 22nd Street, NYC
 
Thomas Hirschhorn
Thomas Hirschhorn was born in Bern, Switzerland, in 1957. He studied at the Kunstgewerbeschule Zürich from 1978 to 1983. Over the past thirty years, Hirschhorn has become internationally renowned for his critically engaged and humanistic aesthetic. He has created over sixty works in public space that pair everyday materials with a universalizing approach that proposes that both the work of art and the process of artistic creation are collaborative and accessible to a broad ranging audience. Since his first solo show in 1986 (Bar Floréal, Paris), Hirschhorn has garnered much critical attention and has had solo exhibitions at international venues, including the Art Institute of Chicago (1998); Centre Georges Pompidou, Paris (2001); Institute of Contemporary Art, Boston (2005); Museo Tamayo, Mexico City (2008); and Secession, Vienna (2008). In 2009, he completed a new homage to Spinoza entitled “The Bijlmer Spinoza-Festival,” in Amsterdam, and he has most recently held solo exhibitions at the Museum Dhondt-Dhaenens, Deurle, Belgium (2010); Les Ateliers de Rennes, France (2010); the Sprengel Museum, Hannover (2011) and Gladstone Gallery, New York (2012). Among many group exhibitions, he has participated in Skulptur Projekte in Münster (1997); the Venice Biennal (1999 and 2011); Documenta 11 in Kassel (2002); São Paulo Bienal (2006); the Carnegie International, Pittsburgh (2008); Brighton Photo Biennal (2008); Tirana International Art Biannual (2009); the 8th Gwangju Biennale, South Korea (2010); Moma PS1 (2011) and, most recently, at the 9th Shanghai Biennale; La Triennale, Palais de Tokyo, Paris (2012) and Kunsthalle Mannheim (2013). Hirschhorn has received numerous awards and prizes, including the Preis für Junge Schweizer Kunst (1999), Marcel Duchamp Prize (2000), Rolandpreis für Kunst im öffentlichen Raum (2003), Joseph Beuys Prize (2004), and Kurt Schwitters Prize (2011). He has been living and working in Paris since 1984.
 
Forest Houses
Forest Houses
Bronx, NY
Gramsci Monument is located on the grounds of Forest Houses, off Tinton Avenue between 163rd and 165th Streets.
 
Directions
Subway: 2, 5 at Prospect Avenue
Head north on Prospect Avenue
Turn left onto 163rd Street
Pass Union Avenue
Turn right onto Tinton Avenue
Take first left onto pedestrian pathway leading into Forest Houses
 
New York Housing Authority
NYCHA is committed to increasing opportunities for low- and moderate-income New Yorkers by providing safe, affordable housing and facilitating access to social and community services. More than 400,000 New Yorkers reside in NYCHA‘s 334 public housing developments around the five boroughs, and another 235,000 receive subsidized rental assistance in private homes through the NYCHA-administered Section 8 Leased Housing Program.
 
Dia Art Foundation
Dia Art Foundation, founded in 1974, is committed to initiating, supporting, presenting, and preserving extraordinary art projects. Dia:Beacon opened in May 2003 in Beacon, New York. Dia also maintains several long-term, site-specific projects including Walter De Maria’s The New York Earth Room (1977) and The Broken Kilometer (1979), Max Neuhaus’s Times Square (1977), Joseph Beuys’s 7000 Oaks (1988), and Dan Flavin’s untitled (1996), all in Manhattan; the Dan Flavin Art Institute in Bridgehampton, New York; De Maria’s The Vertical Earth Kilometer (1977) in Kassel, Germany, and The Lightning Field (1977) in Quemado, New Mexico; and Robert Smithson’s Spiral Jetty (1970) in the Great Salt Lake, Utah. Dia also commissions original artists’ projects produced for the web and produces scholarly publications.
 
Dia currently presents temporary installations, artist lectures, and readings on West 22nd Street in the Chelsea section of New York City, the neighborhood it helped pioneer. Plans for a new project space are underway.
 
For more information please visit www.diaart.org.