Stuff: 2011

ARTIST- Miriam Cahn

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10 November 2011	Painting & Drawing
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MIRIAM CAHN

5 Nov 2011 - 22 Dec 2011

Elizabeth Dee is pleased to present Miriam Cahn's second solo exhibition following her long-awaited return to New York earlier this year in her debut with the gallery. This exhibition will focus on Cahn's painting practice spanning three decades. A beloved and historically significant voice in Switzerland, Cahn represented her home country at the 41st Venice Biennale in 1984.

In Drawing Room Confessions Issue #3, a journal published on the occasion of Cahn's current solo exhibition with the David Roberts Art Foundation in London, Cahn describes how her investigations in film, drawing, books, and performance inevitably led to making paintings. Growing up with black and white television and experiencing art history through books with black and white plates brought Cahn to rule out color as an unnecessary complication in her early career. Color signified wealth since few could afford to print in color.

Years later, Cahn began producing paintings in color for the first time. Cahn's psychosomatic color palette is generational, influenced by the hyperreality of color experience depicted in artificially colored films like Michelangelo Antonioni's, Il deserto rosso (1964). The idiosyncratic quality of her paintings can be seen as an intentional confusion of perception with reality. The figure, animal, or landscape becomes reduced to a few brutal performative gestures in some paintings while areas of sensitive but deliberate rendering exist in others.

A rigorous decision-making process results in psychologically complex and historically ambiguous works. She might decide upon a predetermined amount of time - a matter of hours, a night, a week - to feverishly complete a body of work from scratch. When she returns to the pieces, she never makes adjustments; rather, she edits: approving or rejecting her creations wholesale. While retaining the spontaneity and power of her drawings, films, and performances, Cahn's paintings speak to the development of color images in television, film, and print-production from her mid-century childhood to today.

This is Miriam Cahn's second exhibition at Elizabeth Dee. Select exhibitions include David Roberts Art Foundation (2011, solo); Galerie Meyer Riegger, Berlin/Karlsruhe (2009, solo); Galerie Jocelyn Wolff, Paris (2009, solo); David Roberts Art Foundation, London (2009); Kirchner Museum, Davos, Switzerland (2006, catalog); MGK Museum für Gegenwartskunst, Basel (2006); Fundación La Caixa, Madrid, Spain (2003, solo, catalog); Castello di Rivara, Centro d'Arte Contemporanea, Rivara, Italy (1999, solo); ICA London (1997); Kunsthaus Zürich (1993, solo, catalog); Museum für Moderne Kunst, Frankfurt (1992); 5th Sydney Biennial (1986); 41st Venice Biennale (1984); Museum of Modern Art, New York (1984); Kunsthalle Basel (1983, solo); Documenta 7, Kassel (1982), STAMPA, Basel (1981, 1979, 1977, solos)

DANCE- Anne Teresa De Keersmaeker

http://www.youtube.com/watch?v=UacylkU6OAM&feature=related
Beyonce ripped off

http://www.moma.org/visit/calendar/exhibitions/1129
MOMA dance ref
dancing mark making with feet

Anne Teresa, Baroness De Keersmaeker (born 1960 in Mechelen, Belgium, grew up in Wemmel) is one of the most prominent choreographers in contemporary dance. The dance company constructed around her, Rosas, was in residence at La Monnaie inBrussels from 1992 to 2007.

Biography

De Keersmaker did not study dance until her last year of high school, instead studying music, specifically the flute. She studied from 1978 to 1980 at Mudra in Brussels, a school with links to La Monnaie and to Maurice Béjart's Ballet of the XXth Century. She has said that the percussionist and her music teacher at MUDRA, Fernand Schirren(), was a major influence on her. In 1981, she attended the Tisch School of the Arts at New York University. While at the Tisch she presented her first production, Asch (1980), in Brussels. In 1982 upon her return from the U.S.A. she created Fase, four movements to the music of Steve Reich. It was this production that brought her "a breakthrough on the international dance scene, performing, among other places, at the Avignon Festival".

The success of Fase contributed largely to the foundation of the company Rosas in 1983.Rosas danst Rosas - Anne Teresa De Keersmaeker's first choreography for the young company to new compositions of Thierry De Mey and Peter Vermeersch - brought Rosas the international breakthrough as a company. During the eighties, Rosas was supported by Kaaitheater of Brussels (director Hugo De Greef). Within the framework of Kaaitheater, her oeuvre took shape. Performances such as Elena's Aria (1984), Bartók/Aantekeningen(1986), a staging of Heiner Müller's triptych Verkommenes Ufer/Medeamaterial Landschaft mit Argonauten (1987), Mikrokosmos-Monument Selbstporträt mit Reich und Riley (und Chopin ist auch dabei)/In zart fliessender Bewegung - Quatuor Nr.4, (1987),Ottone, Ottone (1988), Stella (1990) and Achterland (1990) were produced in collaboration with Kaaitheater.