" In my beginning is my end…….In my end is my beginning."
T.S.Eliot East Coker
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the penultimate invitation (detail) [2009] 
company study VI [2008]
marina abramovic / ulay: imponderabilia [1977]
john currin: girl in bed [1993]
corinne wasmuth: nothern gate gugong [2006]> manchestergalleries.org/angelsofanarchy <
Tickets: £6 (concessions £4, free entry for under 18s and Manchester Art Gallery Friends) The first major exhibition of women artists and Surrealism to be held in Europe, Angels of Anarchy, opens this autumn at Manchester Art Gallery.
Featuring over 150 artworks by 32 women artists, the exhibition is a celebration of the crucial, but at the time not fully recognised, role that women artists have played within Surrealism. Paintings, prints, photographs, surreal objects and sculptures by well-known international artists including Frida Kahlo, Meret Oppenheim, Leonora Carrington and Lee Miller will be exhibited alongside works by artists less well-known in the UK, such as Emila Medková, Jane Graverol, Mimi Parent, Kay Sage and Francesca Woodman.
Manchester Art Gallery is the only venue for this exhibition, making it a once-in-a-lifetime opportunity to see the works of so many significant women artists displayed together, with many of the works on loan from international public and private collections. Angels of Anarchy includes some of the most important, radical (and sometimes still shocking) Surrealist works produced during the 20th century by women artists from across the globe, including artists from Belgium, Czech Republic, France, Mexico, Switzerland, the UK and the USA. (from the press release)
ALL SORTS OF REMEDIES
Saturday and Sunday 12-6pm
Herbert Pfostl is the author of Blind Pony Books and the Paper Graveyard, and is the buyer for the bookstore at New York’s New Museum (continue reading here)
Elizabeth Dee is pleased to present Anabases, Eric Baudelaire’s second solo show at the gallery, which is at once a continuation and a departure from Circumambulation, his 2007 inquiry into the cyclical and hypnotic relationship between image and event. Once again, the work presented is part of a greater cycle where pieces in different media are federated by an allegory of movement. But where Circumambulation navigated around a space left empty by a particular event that unfolded on September 11th, and the ensuing effect it had on our lives and our relationship to images, the ambulation at work in the current cycle stems from a literary motif inspired by Xenophon’s Anabasis. And yet, it isn’t so much a story or a destination that the show refers to. Instead, Anabases is an inquiry into the idea of a movement, the internal logic of which is embedded in the structure of the works on display. What kind of movement is inscribed in Anabases? One that originates in Xenophon’s historical epic, also known as the Persian Expedition, which recounts a leaderless retreat of ten thousand Greek mercenaries in search of a way home through unknown lands following the unexpected death of the Persian prince who had retained them. The itinerary becomes more allegorical in its many adaptations, including those by the poets St John Perse and Paul Celan, the 1979 cult film Warriors, its imminent Tony Scott remake, an Xbox game, and a lecture by Alain Badiou who employed the idea in his seminary on the 20th century at the Collège International de Philosophie. What the various incarnations of anabasis have in common is a principle of wandering, the notion of a journey into the new which isn’t a simple return because it forges its own path without knowing whether it leads towards home. Badiou defines anabasis as “a free invention of a meandering which will have been a return, a return which, prior to the wandering, did not exist as a return.” (1) And in tracing this undecidability, he notes that the notion of a disjunctive synthesis of will and wandering is embedded in the Greek etymology of the word itself since the verb αναβανειν (“to anabase,” as it were), means both “to embark” and “to return.” (from the press release, continue reading here)
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The Makes (That Bowling Alley on the Tiber), 2009
Artforum XLVI #10 p.74 [sic], Yokohama, 2008 [2009]
untitled [2009]
tritextural nude [2008]
untitled [2007]
barry lategan: twiggy [1966]
lillian bassman: anne saint-marie [1958]
horst p. horst: round the clock I [1987]
...If art is, in truth, art, it feels as if it is too concrete to be mere appearance, but not concrete enough to exist as mere reality. In other words, art is more and less than a thing. And it is this simultaneous expression of more-ness and less-ness that makes what is made art...
rachel harrison: detail of rainer werner fassbinder [2007]an interesting (double) review about two books on painting, both edited by phaidon:
read the article @ flavorwire.com
clare woods: black vomit [2008]
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SP2 "New Born"(Viper A) [2007]
SP4 the specter -What wonders around in every mind [2009]
rompers [2003]Living Memory. Artists' Publications in Europe
A Network of Indexing, Presentation and Communication
Luigi Russolo and Ugo Piatti with the intonarumori
figure head
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