ana cardoso

2011-12-05T15:07:00.000-08:00

Upcoming:

solo @ Maisterravalbuena, Madrid

Feb-March 2012

http://www.maisterravalbuena.com/

2011-11-06T12:16:00.000-08:00

Please join us for the opening of:

zoom, shift, abstract

Rey Akdogan, Nancy Arlen, Ana Cardoso, Robert Grosvenor, Martin Parr

Friday, November 11 2011

from 6pm to 8pm

The exhibition will already be on view on Thursday November 10 and will run through

Sunday December 4, 2011.

131 Bowery, 2nd floor, New York, NY 10002 / info@simonesubal.com/ www.simonesubal.com/ T: 917-409 0916

Wednesday to Sunday noon to 6pm

2011-10-23T16:23:00.000-07:00

2011-10-21T13:24:00.001-07:00

Ana Cardoso, yo-yo dispositif, 2011, video still

http://www.tate.org.uk/stives/eventseducation/late/24933.htm

Late at Tate St Ives
Tate Film: Exploring the Abstract
28 October 2011

Exploring the Abstract is a programme of historical and contemporary abstract film and video organised in response to the winter exhibition, The Indiscipline of Painting. This project is realised within the framework of Late at Tate, a series of events taking place the last Friday of each month. The screening features 12 British and international artists who experiment with manipulations of the celluloid – including scratch, burn and flicker – and employ unconventional techniques such as non-linear narrative, out-of-focus and rapid editing. The selected works address formal issues as well as different topics in society, therefore furthering the curatorial rationale of the winter exhibition, which balances between a medium-specific discussion and the bluring of boundaries between the abstract and the real. This project demonstrates the significance of abstraction in film and video and the interrelated trajectories of these media with painting and visual culture throughout the twentieth century up to today.

Part I of this programme comprises some early innovators of abstract filmmaking that worked within the context of the European avant-gardes. The section starts with the late 1920s mesmeric piece of French feminist Germaine Duluc; the ‘camera-less’, jazz-inspired compositions of New Zelander Len Lye from the 1930s; and the post-II World War free-form, hand-painted constructions of mystic Harry Smith. The section ends with two New Yorkers that contributed to the counter-cultural revolution of the 1960s: iconoclast Paul Sharits’s hallucinogenic colour-fields and activist Aldo Tambellini's monochromatic, sensual arrangement set to the sound of a heartbeat. These works share a poetic approach that draws attention to the pictorial, emphasising the painterly concerns of the practitioners, and places the beholder in a thoughtful relationship with the structural properties of film.

Part II and III of this programme consist of contemporary artists based in London and New York; traditional hubs of structuralist filmmaking. Nick Relph and Oliver Payne produce abstracted imagery of the urban environment to convey feelings of alienation, whilst Hannah Sawtell scrutinises the excess of information in the media landscape by employing found footage from the digital realm. Lisa Oppenheim gradually distorts the viewing experience through a repeated digital reproduction and Alex Hubbard playfully merges performance and the pictorial. Jennifer West’s surfing piece has been deliberately ‘aged’ and echoes nostalgically to Super-8 movies of the 1970s; Amy Granat lyrically addresses the sublime as an aesthetic condition; Ana Cardoso reinterprets the politics of the sign using unconventional materials. Although varying greatly in their concerns, these works owe a debt to the abstract modernist legacy yet depart from it to address the complexities of everyday life.

2011-10-05T08:03:00.001-07:00

Arnulf Rainer (left) & Ana Cardoso (center/right) in Stirrings, Nieuw Dakota, Amsterdam

John Armleder (front/left) & Ana Cardoso (back/right) in Stirrings, Nieuw Dakota, Amsterdam

2011-09-04T15:57:00.000-07:00

pdf with images and exhibition info here

2011-07-23T07:29:00.000-07:00

Time and Materials

Ana Cardoso | Anna Mirbach | Alice Münch | Natasza Niedziolka | Cristiana Palandri

curated by Colin Huerter

Opening: 22. July 2011, 6 to 9pm

Horton Gallery Berlin

http://hortongallery.com/exhibition/134/time-and-materials

Horton Gallery | Berlin

Alexandrinenstraße 4

Hof: Linke Seite

Kreuzberg - Berlin

D-10969, Germany

T: +49 176 9907 4842

Thurs-Sat, 12-18 & By Appointment

http://www.hortongallery.com

2011-06-29T03:47:00.001-07:00

For Immediate Release

June 12, 2011

Non-Objectif Sud Summer Exhibition 2011

YIN YANG MUSIC

Exhibition: July 2- September 4, 2011

Hours: Saturdays and Sundays, 3 – 6 pm and by appointment

Opening: Saturday July 2 from 4 to 7 pm

Location: La Barralière, Chemin de Visan, 26790 Tulette, France

We are pleased to announce YIN YANG MUSIC, our sixth summer NOS exhibition and residency program curated by artist Amy Granat.

Artists included:

Richard Aldrich, Amy Granat & Stefan Tcherepnin

Ann Craven & Peter Halley

Jacob Kassay & Dan Graham

Ana Cardoso & Lisa Oppenheim

David J. Merritt

Carlos Reyes

G. William Webb

Elliott Wright

Inspired by Dan Graham’s Pavilion (2002), YIN YANG MUSIC will focus on pairings and relationships between artists. The exhibition will include sound, music and video. In addition, wall works, sculpture and site-specific installations will complete the exhibition.

At the close of the exhibition, NOS will publish a catalogue with a text by Amy Granat and curator/art historian Anthony Huberman.

Lisa Oppenheim & Ana Cardoso

Untitled, 2011

Unique color photogram

14 x 11 inches

Courtesy the artists

http://www.nonobjectifsud.org/2011exhibit.html

For further information, please visit or contact us via:

http://www.nonobjectifsud.org

info@nonobjectifsud.org

Tel: +33-4-75-98-31-77 in France

Tel: +1-646-325-4581 in US

Non-Objectif SUd (NOS) is 501 ( c ) non-profit organization

2011-06-13T17:34:00.000-07:00

Llama 2
Galeria Nuno Centeno
nunocenteno.com

Rua Miguel Bombarda 531
4050-383 Porto
Portugal

info@nunocenteno.com
M (+351) 93 686 64 92
T (+351) 22 600 72 66

ANA CARDOSO, LE DESTIN 1 (BLACK WHITE), 2011, ACRYLIC ON SEWN PAINTED FABRICS, VARIABLE DIMENSIONS, EACH PAINTING: 16X16 IN / 40X40 CM

2011-06-07T14:15:00.001-07:00

http://thisisthebarbershop.blogspot.com/

download catalogue here

2011-05-03T10:40:00.000-07:00

Prague Biennale 5

LINK

EXPANDED PAINTING INTERNATIONAL, curated by Giancarlo Politi, Helena Kontova, Nicola Trezzi:

Sonia Almeida, Portugal/United States; Baldur Geir Bragason, Iceland; Mark Barrow, United States; Ana Cardoso, Portugal/United States; Ann Craven, United States; Vittorio Brodmann, United Staes; Francesca DiMattio, United States; Ida Ekblad, Norway; Heather Guertin, United States; Enzo Giordano, Italy; David Örn Halldórsson, Iceland; Ingunn Fjóla Ingþórsdóttir, Iceland; Jacob Kassay, United States; Gilda Mautone, Italy; Elizabeth Neel, United States; Ylva Ogland, Sweden; Paloma Presents, Switzerland; Zak Prekop, United States; Jo Robertson, United Kingdom; Patricia Treib, United States; Garth Weiser, United States

OPENING DAYS MAY 19, 20, 21

CLOSING DAY SEPTEMBER 11

2011-04-12T22:49:00.000-07:00

Tax Day News & Smoke

   Roger Van Voorhes presents:

     Viola Yesiltac, Valerie Snobeck, Sam Pulitzer, Zak Prekop, Caitlin Macbride, Jason Loebs,
   Zak Kitnick, Robert Janitz, Laura Hunt, Nikolas Gambaroff, Egan Frantz, Ana Cardoso

April 16 - April 23, 2011

Saturday April 16, 6:00 pm: Opening reception for Tax Day News & Smoke & poetry journal Gerry Mulligan issue 4

   The Emily Harvey Foundation
   537 Broadway - 2nd fl

   (opened tuesday to saturday - 1:00 pm - 7:00 pm)

  Sunday April 17th, 6:30 pm (sharp!), Readings by Anne Tardos and Kit Robinson + Music performance by Sergei Tcherepnin

2011-03-20T18:50:00.000-07:00

Dear Thick And Thin

http://www.mecontemporary.com/exhibitions/dear-thick-and-thin.htm

ME Contemporary

Copenhagen

2011-01-14T21:46:00.000-08:00

Soloway presents
CLAIRVOYANCE
Ana Cardoso
Boris Achour
opens jan 30, 2011 > 6-8pm

348 South 4th Street, Brooklyn, NY 11211

2010-12-26T11:36:00.000-08:00

Llama @ Conduits, Milan

2010-12-12T11:34:00.001-08:00

*** ***

Llama
curated by Lisa Oppenheim
Lisa Tan, Ana Cardoso, Matt Keegan and Amy Granat

private view: thursday 16.12.10, 7pm
Inaugurazione: giovedi' 16 dicembre ore 19

The title of the show is a South American camelid widely used as a pack and meat animal by Andean cultures. It’s the third person conjugation of the Spanish verb to call, or, in its reflexive form, to be called. ¿Cómo se llama? Lisa. Lisa. Ana. Matt. Amy. The premise of this show is a dinner party. It’s someone else’s opening. It’s a bar. It’s where we get together and talk about things that may be related to art or may be related to love or gossip or things we heard on the radio. Another friend of ours described art as the thin membrane that surrounds everything. It’s the thing that brings all of us together in the same room but that we don’t have to talk about all the time. It’s a support and a context that exists both individually and in a group. Llama is a picture of the group, made up individual projects and practices.

Lisa Tan is an American artist currently living in New York and Stockholm. She received an MFA from the University of Southern California (USC). Her work focuses on historical or personal narratives that speak to longing and loss as constant conditions of being. Utilizing photography, video, sculpture, drawing, and writing, she addresses how notions of the enigmatic and melancholy are formed against a history of representation in art, film, and literature. She is represented by Andreas Grimm - Munich and Galerie VidalCuglietta - Brussels. Lisa has a forthcoming solo exhibition at the Arthouse at the Jones Center in Austin.
Lisa Oppenheim is an artist who lives and works in New York. Her work explores the underappreciated aspects of visual culture: the tell tale expressions of contemporary life which are often overlooked, exposing the erosion of information through the passage of time. Her work was recently included in group exhibitions at the New Museum in New York, The Henry Art Gallery in Seattle, The Musuem of Fine Art, Houston and the Guggenheim, Bilbao. She is represented by Harris Lieberman in New York, Klosterfelde in Berlin and Galerie Juliette Jongma in Amsterdam.
Ana Cardoso's paintings evoke a dialogue with the historical, while remaining resistant to a fixed relationship to the past. Modernism, the monochrome, flags, patterns from street posters, politics, are all referenced but vaguely so, creating a conversation between works, an internal relationship of processes and references. Cardoso is an artist living in New York. She has recently had solo exhibitions at Carlos Carvalho Contemporary Art, Lisbon and Reflexus Contemporary Art, Oporto; contributed work to Besides, With, Against and Yet: Abstraction and the Ready-Made,The Kitchen, New York and Personal Freedom Portugal Arte 10 EDP: International Contemporary Art Biennale, Lisbon. Forthcoming exhibitions include Expanded Painting in the 2011 Prague Biennale.
Matt Keegan is an artist based in New York. Recently, he has been thinking about the myriad possibilities of archives, language, social history projects, cities, and ways to map and record time. Keegan has had recent solo shows at Altman Siegel Gallery in San Francisco and D'Amelio Terras in New York. He was recently included in Image Transfer at the Henry Art Gallery, Seattle, WA, and Younger than Jesus at the New Museum, New York. His work is included in various private and public collections including the Guggenheim Museum, New York, and the Whitney Museum of American Art, NY. Matt is the co-founder and publisher of North Drive Press. NDP#5, which was released in January, is the final issue of this annual art publication.
Amy Granat is best known for her experimental film installations, though her practice is wide-ranging and also includes video, photography, text and sound. In Granat's photos she experiments with the elements of basic photography and employs a method that emphasizes the intrinsic quality of film, She allows herself to “draw” with light, a very physical and unphysical act at the same time. In all of her work this reveals her fascination with transparency and opacity, positive and negative space. LInear and cyclical time. She recently had a solo projects at the New Museum and the Kitchen in New York, Galerie Kamm, Berlin, Galerie Eva Prensenhuber, Zurich and Carlos Cardenas Gallery, Paris. Her work has been included in many international gallery and institutional exhibitions including the 2008 Whitney Biennial.

Conduits
Viale Stelvio 66
20159 Milan
Italy
+39026883470
info@theconduits.com | theconduits.com

2010-11-20T09:41:00.000-08:00

The Miami Set

Ana Cardoso Amy Granat Flora Wiegmann

By invitation of Liutauras Psibilskis

NADA Art Fair 2010, Miami Beach, December 2 - 5, 2010

Co-produced by OUTPOST NYC DCG

December 2 - 5, 2010. From 12 to 6 PM daily an ongoing performance by Flora Wiegmann. December 3 at 1 PM - a performance by Amy Granat and Flora Wiegmann. Ongoing conversations and updated screenings daily.

The Miami Set is a project by Ana Cardoso, Amy Granat and Flora Wiegmann for NADA Art Fair in Miami Beach, by invitation of Liutauras Psibilskis. The presentation includes a sculptural fabric installation by Ana Cardoso that will create environment for the project, an interview & conversation channel by Amy Granat and Ana Cardoso, an ongoing screening installation by Amy Granat as well as dance performances by Amy Granat and Flora Wiegmann. The Miami Set is a constantly changing venue open to development through the interaction with the public. This ongoing performative presentation will be displayed at the Lobby of the Deauville Beach Resort hotel where NADA 2010 takes place and is co-produced by OUTPOST NYC DCG.

Amy Granat is best known for her experimental film installations featuring celluloid that has been manipulated by scratching, cutting, or chemical alteration. Her practice though, is wide-ranging, and also includes video, sound, performance and photography. Granat experiments with the elements of basic photography – a method that emphasizes the intrinsic quality of film, and allows herself to “draw” with light. A physical and very unphysical action at the same time, in both her filmmaking and her photography these aspects of her work reveal a fascination with transparency and opacity, positive and negative space.

Ana Cardoso is an artist living in New York, working mostly in painting. She has recently had solo exhibitions at Carlos Carvalho Contemporary Art, Lisbon and Reflexus Contemporary Art, Oporto. Cardoso contributed work to Besides, With, Against and Yet: Abstraction and the Ready-Made, The Kitchen, New York and Personal Freedom Portugal Arte 10 EDP: International Contemporary Art Biennale, Lisbon. Forthcoming exhibitions include Llama, Conduits, Milano and Expanded Painting in the 2011 Prague Biennale. Her work has been reviewed in Artforum, Flash Art, ArtSlant and NY Arts Magazine amongst others. She has been a contributing writer to Artecapital and has produced several artists books. She also co-founded the international project TEST, based in Lisbon, with Joao Simoes.

Flora Wiegmann is a dancer/choreographer who is based in Los Angeles. She works in both live performance and film, often collaborating with artists such as Felicia Ballos, Amy Granat, Fritz Haeg, Drew Heitzler, Silke Otto-Knapp, Alix Lambert, and Andrea Zittel. Her projects have been presented the ICA in Philadelphia, the Whitney Museum of American Art, the Los Angeles County Museum of Art, the Kitchen, Highways Performance Space, the Banff Centre in Banff, Canada; the David Roberts Art Foundation, London; and Le 102 in Grenoble, France. She currently is in the midst of a four-month performance project at The Orange County Museum of Art as part of the California Biennial.

Liutauras Psibilskis is a New York-based independent exhibition curator. At the 51st Venice Biennale he curated a Jonas Mekas retrospective for the Lithuanian Pavilion. His recent projects include Out of the Box at Emily Harvey Foundation, New York, October 2010, that included work by Olivier Babin & Harold Ancart, Peter Coffin, Heather Guertin, Matt Keegan, George Maciunas and Alexandre Singh as well as Roulette, a multi-faceted project for Performa 09. It showcased performances and presentations by Michel Auder, Mai Ueda, Amy Granat, Jonas Mekas, Molly Gochman, Lola Schnabel and Ultra Violet.

http://outpostnycdcg.com/projects/miami-basel-2010/wiegmann-video-tonight/

2010-11-15T19:38:00.001-08:00

2010-11-08T11:55:00.000-08:00

the ending crash of my 12'' powerbook

2010-10-23T23:38:00.001-07:00

K Siegel on AMERICANANA

2010-08-10T09:06:00.000-07:00

R.H. Quaytman interview:

http://www.artinamericamagazine.com/features/rh-quaytman/1/

2010-08-06T19:57:00.000-07:00

texto de Hugo Canoilas sobre Monologic: http://infinitoaoespelho.blogspot.com/2010/08/ana-cardoso8-monocromos-na-galeria.html

2010-07-23T12:36:00.000-07:00

Público, Ípsilon, 23 July 2010

METAPHYSICS, MAYBE?

“Monologic”, by Ana Cardoso

Exhibition : Reflexus - Contemporary Art Gallery, Porto (2010)

Text by Oscar Faria

English translation by Pedro Centeno

Moscow is the new geographic origin of monochromatic painting. Some consider the suprematist composition “White on White” (1918), from Kazimir Malevich, the first example of pictorial surface covering on a single color. In this artist’s particular case, there was a clear metaphysical intention: the monochrome would be equivalent to infinite space, taking the program of illusionist painting to an insuperable limit. Another origin for this kind of radical abstractionism is the work “Pure Red Colour, Pure Blue Colour” (1921), from Alexander Rodchenko. The Russian artist imposed his effort on reducing the art of painting to it´s logical conclusion through the production of three canvas representing each of the primary colors: “ i say: it´s over. Basic colors. Each plan is a plan and there is no representation”.

This is the background field in which will emerge, even later, in the late 60´s and early 70´s, the work of the germans Blinky Palermo and Imi Knoebel, both Joseph Beuys students, at the Dusseldorf Academy of Art, city where they shared the same studio. The investigations around color are central in the path traced by both artists. In Palermo that research crosses all the different lines of their work: from “Objects” (1964-1974) to “Stoffbilder” (1966-1972), from paintings to wall drawings (1968-1973) to “Metallbilder” (1974-1977). From these last ones is included one of his most important works: “To the People of New York City” (1976), revealed at the Heiner Friedrich gallery, in New York - the work, divided in 15 parts, includes 39 individual panels, hand painted in cadmium red, yellow, cadmium and black.

Not very long after Palermo´s death - in February 18th of 1977 - Imi Knoebel presented his monumental “24 colors - for Blinky”, at the Heine Friedrich in Cologne. It was his first color experience - before this work, he only produced black or white monochromes and “masonite” sculptures -, opening a period which endures until today. The series which were dedicated to his friend, exhibited at Dia: Beacon, close to New York, are composed of single color painted polygons - by avoiding conventional squares, rectangles and so on... the chosen shapes deliver an unexpected dynamism to abstraction.

Closer to Malevich than Rodchenko, in the search of a metaphysical dimension in the act of creation, Knoebel´s work has, in this epic cycle, one of his most significant moments: none of the panels has a ninety angle degree and the chosen color paintings - from bright orange to grey payne - have not suffered any kind of mixture, coming directly from the tube to the wooden surface material.

This is also the chosen genealogy used by Ana Cardoso (Lisbon, 1978) has a starting point for the exhibition “Monologic”: an eight color series inscription over rough cotton canvas, non stretched and unfinished. The artist has been developing a consistent pathway in the painting territory over the last years, exploring both conceptual and formal limits of the discipline and reinforcing her position inside a wider and borderless territory of expansion encountered nowadays. In this particular exhibition, the relation towards surrounding architecture determined the sequence of the selected monochromes: “ultramarine violet”; “transparent yellow iron oxide”; “cobalt teal”; “transparent pyrrole orange”; “phthalo green (yellow shade)”; “quinacridone red light”; “pearl black” and “iridescent silver (fine)”.

Ana Cardoso´s paintings grab the spirit of time by holding firmly into a tradition. Acting in an efficient way. Both over the space, and the spectator - they are not only screens, but also mirrors producing an instant kaleidoscope effect over the gallery. There is also a certain impurity in the monochromes - the colors do not appear homogenous over the surfaces, a way to potentiate a more dynamic reading of the installation. Dedicated to Imi Knoebel and the work “24 colors – for Blinky”, the exhibition still raises one question, suggested by the artist herself: “Metaphysics, maybe?”.

2010-07-20T06:28:00.000-07:00

Sala do Veado: Cabinet d’Amateur

Natural History Museum, Lisbon

opening | 22 July 10pm

2010-07-19T18:10:00.000-07:00

ana cardoso, games people play (corner), 2010
installation view at pavilhão de portugal in portugal arte 10 edp biennial, lisbon
16 july - 15 august 2010

portugalarte.org

2010-07-11T14:11:00.001-07:00

ana cardoso, monologic, 2010 reflexus arte contemporânea, oporto 3 - 31 july 2010

reflexus.net

Monologic is a piece of work made of eight monochromes. Each one measures 72 by 37 inches, acrylic on a raw cotton canvas, unstretched and unprimed. The eight monochromes are put together and hung side by side on a wall, close and slightly apart, as a mural. The recurrence of the hung canvases changes both space and architecture. Titles are, from left to right: ultramarine violet, 2010; transparent yellow iron oxide, 2010; cobalt teal, 2010; transparent pyrrole orange, 2010; phthalo green (yellow shade), 2010; quinacridone red light, 2010; pearl black, 2010; iridescent silver (fine), 2010.

Monologic is a long address, an enunciation built piece by piece. It leads to the notion of mono logics, of insistent and resistant meaning, where each particle of the whole has a formal equivalence, a dystopia counterbalanced by the subjective color structure. The color of each monochrome was chosen after the preceding one. Chronologically, the first painting of the series is quinacridone red light. From there followed the other elements, after a logical visual and spatial accomplishment, where each one of them, in its simplicity, will play an unknown role or function. Metaphysical, perhaps?

Monologic (2010) is dedicated to Imi Knoebel and to the piece he dedicated to Blinky Palermo: 24 Colors – for Blinky, 1977. That piece, which can be seen at Dia:Beacon, marks the beginning of Knoebel’s chromatic search. The dedication aims to explain a lineage – in spite of the temporal holes and differences in context.

You may see it here:

http://www.diabeacon.org/exhibitions/pressrelease/10

2010-06-28T15:04:00.000-07:00

Ana Cardoso: Monologic

Reflexus Arte Contemporânea, Oporto

Opening Reception: July 3, 2010 | 5 pm

http://www.reflexus.net/

2010-06-26T19:48:00.003-07:00

test / scan # 1 / 06-10

2010-06-12T21:22:00.000-07:00

SOUTHFIRST: presents ACTS ARE FOR ACTORS

Curated by Ana Cardoso 10 June - 19 July, 2010

during the opening: sound performance by Alison Knowles

2010-06-06T14:21:00.000-07:00

ACTS ARE FOR ACTORS

10 June - 19 July, 2010

curated by Ana Cardoso

Sonia Almeida, Ana Cardoso, Cleopatra’s, Mira Dancy, Alison Fox,

Amy Granat, Tamar Halpern, Jacob Kassay, Anya Kielar,

Alison Knowles, Hanna Sandin, Joao Simoes, Alexandre Singh

Reception: Thursday June 10, 2010 6-8 PM

SOUTHFIRST is located on 60 N6th Street in Williamsburg, Brooklyn between Wythe and Kent Avenues. Gallery hours are Friday, Saturday and Sunday from 1-6 PM and by appointment. Subway: L train to Bedford Avenue. For more information, please contact Florian Altenburg at 718 599 4884 or info@southfirst.org.

SOUTHFIRST

southfirst.org

& pls go:

http://cleopatrascleopatras.blogspot.com/2010/06/acts-are-for-actors-at-southfirst.html

2010-05-31T07:02:00.000-07:00

EXHIBITION # 3 at Emily Harvey Foundation, May 2010

2010-05-16T10:11:00.000-07:00

edited from Games People Play by Eric Berne, M.D.

...

besides structuring time and providing mutually acceptable stroking for the parties concerned, pastimes serve the additional function of being social-selection processes. pastimes form the basis for the selection of acquaintances, and may lead to friendship. another important advantage obtained from pastimes is the confirmation of role and the stabilizing of position. a role is something like what jung calls persona, except that it is less opportunistic and more deeply rooted in the individual’s fantasies. the role of each one is confirmed if it prevails – that is, if it meets with no antagonism or is strengthened by any antagonism it meets or is approved by certain types of people with stroking. the confirmation of his role stabilizes the individual’s position, and this is called the existential advantage from the pastime. a position is a simple predicative statement which influences all of the individual transactions; in the long run it determines his destiny and often that of his descendants as well. a position may be more or less absolute. a pastime is not always easy to distinguish from an activity, and combinations frequently occur.

2010-05-01T07:12:00.000-07:00

Exhibition #3

Opening Reception May 11, 6pm

May 11-29, 2010

The Emily Harvey Foundation

537 Broadway, New York, NY 10012

with Amy Granat, Ann Craven, Ana Cardoso/Jacob Kassay, Jeff Perkins, Anthony Burdin

Robert The, Stefan Tcherepnin, Joao Simoes, Boško Blagojević, Tomaz Hipolito, Richard

Aldrich, Amir Mogharabi and Dexter Sinister

2010-04-07T16:07:00.000-07:00

parts of why, acrylic paint on wood + wood round panel + round cotton canvas, dimensions variable, 2010

2010-04-07T15:42:00.001-07:00

play gold, acrylic on sewed brown wool and violet cotton, 125x90 cm / 49x35 in, 2010

2010-04-07T15:35:00.000-07:00

play blue, acrylic on sewed violet cotton and black wool, 125x90 cm / 49x35 in, 2010

2010-03-15T10:25:00.000-07:00

SOME NOTES

Feb 21, 2010 | The Kitchen: Symposium with the artists in Besides, With, Against and Yet: Abstraction and the Ready-Made Gesture curated by Debra Singer

Addressing the following:

1. Is abstraction the opposite of “information”? If processing “information” is arguably a dominant mode of cultural production today, does the experience of “abstraction” interrupt the flow of data/information? Is there a relationship between recent engagements with technological obsolescence and a recent return to abstraction?

my notes: Abstraction is also information but like an undertone - in real life it’s assumed as an undercurrent. In a way it’s a repeated style but powerless by itself, therefore it’s a steady reformulation of ideas of what art can become. Maybe its origin is to block some flow of coherent meaning, being disruptive whereas subtle. Abstraction has several ways to be approached and it may happen that it’s blocking and eating itself up. There’s ways of using Abstraction in total negation of Abstraction itself. Abstraction=Utopia=Experimentation=the agenda of giving the world a twist. Technological obsolescence can create abstraction.

2. How does painting relate itself to a public? To whom does abstract painting address itself? How is abstract painting used socially? Is it possible to conceive of a model of abstraction that is outside of painting’s normative relationship to the market? What is a painting user (like a screen user)?

my notes: An user connects to art as a participant – this can happen in several ways. With painting now this happens the same way as with every other medium, or process, since many things can be activated by a painting, or as-if-painting – and those are limits that many artists are testing. To be outside of the market is the complicated and always temporary part... Although the problem with the market is that it easily forgets and so there’s a constant tension between what exists in presence and what is latent. Is all labour a part of the market?

3. What is abstraction’s capacity to accumulate/communicate intellectual capital? How do ideas of institutional critique or identity formation surface in abstraction? If we can put aside what abstract painting “says”, can you articulate what your painting “shows”? Is all abstract painting ironic?

my notes: Abstraction is inherently critical. Art is Ironic and Abstraction maybe so – abstraction proposes some serious formulations that don’t pass without irony. What surfaces: individual or group placements in some mapping of art history and geo-politics. This is a mapping of surfacing linkages and shared common grounds in art – a western world cultural heritage we’re interested in. Abstraction is not just a formal reduction, it enables additive reformulations, formal and material experimentation linked to an idea of continuum where ways of showing and distributing take now a major role.

4. What part of our practices are we able to communicate, to share, to transfer? How does knowledge transfer from one generation of painters to the next? What are those sources now?

my notes: We share what remains. What and how we write. What and how we show. We are an enlarged community.

ArtSlant

2010-03-15T10:17:00.000-07:00

(...) There is a deliberate, decisive physicality throughout the show, each object referencing a life or activity that emerged and imprinted itself. Portugese artist Ana Cardoso’s "painting" is a controlled eruption within an abstract, minimalist structure. She takes a familiar reference, that of high modernism, and reinvents it through grounds made from stretched, sewn together fabric (silk, cotton, polyester) triumphantly transforming a cold, austere format, into something vibrating, referencing the vernacular through satin-like fabrics, bright colors, and the visible texture of the painted surface. (...)

by Michelle Levy

ArtSlant: Hints of Something Human

2010-02-10T10:57:00.000-08:00

Full review of Alpha & @ On Stellar Rays
HERE

w2w: Lisbon, Feb 2010

2010-01-30T11:11:00.001-08:00

2010-01-28T10:42:00.001-08:00

Two paintings for Alpha & @ On Stellar Rays, NYC

Jan 10 - Feb 21, 2010
+ info onstellarrays.com

2009-12-15T08:21:00.000-08:00

Artforum Pick for Besides, With, Against and Yet
http://artforum.com/archive/id=24358

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2009-12-14T07:13:00.000-08:00

ALPHA & @ On Stellar Rays, NYC

http://onstellarrays.com/exhibitions/2009-2010/alpha-and/

2009-11-28T13:55:00.000-08:00

2009-11-28T11:54:00.000-08:00

found quilt image \ the met online

2009-11-27T16:26:00.000-08:00

2009-11-21T15:54:00.000-08:00

Besides, With, Against, and Yet:

Abstraction and The Ready-Made Gesture

November 13, 2009 - January 16, 2010

Richard Aldrich, Polly Apfelbaum, Kerstin Brätsch, Ana Cardoso, Jessica Dickinson, Cheryl Donegan, Keltie Ferris, Wade Guyton, Jaya Howey, Alex Hubbard, Jacqueline Humphries, Jacob Kassay, Jutta Koether, Nate Lowman, Seth Price, R.H. Quaytman, Blake Rayne, Davis Rhodes, Cheyney Thompson, Patricia Treib, Charline von Heyl, and Kelley Walker

The Kitchen, 512 West 19th Street

ANA CARDOSO, SURPRISE SURPRISE (FLAGS 3 & 4), 2009

FLAG 3: ACRYLIC ON SEWED COTTON AND LINEN, 82X35 IN / 208X89 CM

FLAG 4: ACRYLIC ON SEWED COTTON, CASHMERE AND FELT, 82X35 IN / 208X89 CM

2009-11-04T10:58:00.001-08:00

The Kitchen’s Board of Directors and Executive Director Debra Singer invite you to the exhibition opening of

Besides, With, Against, and Yet:
Abstraction and The Ready-Made Gesture
November 13, 2009 - January 16, 2010
Richard Aldrich, Polly Apfelbaum, Kerstin Brätsch, Ana Cardoso, Jessica Dickinson, Cheryl Donegan, Keltie Ferris, Wade Guyton, Jaya Howey, Alex Hubbard, Jacqueline Humphries, Jacob Kassay, Jutta Koether, Nate Lowman, Seth Price, R.H. Quaytman, Blake Rayne, Davis Rhodes, Cheyney Thompson, Patricia Treib, Charline von Heyl, and Kelley Walker
Friday, November 13, 5:00 - 8:00 PM
Opening Reception at The Kitchen, 512 West 19th Street

About the Exhibition:
This group exhibition brings together more than twenty New York-based artists whose works engage diverging conceptual approaches to abstract painting and question the fundamental roots of the medium’s modernist legacies. Renegotiating histories of painting with a mixture of both irony and sincerity, these artists appropriate aspects of non-narrative abstraction as “ready-made” vocabularies to be reinvented. Whether resulting from detached and mechanized modes of production or more direct, hand-rendered means, the works’ formal gestural qualities are offered up in relation to conceptual, minimalist, process, and pop art traditions. Curated by Debra Singer, the exhibition runs from November 13, 2009 through January 16, 2010. Exhibition Hours: Tues - Fri, 12-6 pm; Sat 11-6 pm FREE

This exhibition is made possible with generous support from the Dedalus Foundation, Inc., and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.

2009-11-04T10:51:00.001-08:00

FOR IMMEDIATE RELEASE

MIGUEL AMADO PRESENTS

Works by Ana Cardoso, Carolina Caycedo, Jeanette Doyle, Yevgeniy Fiks, Runo Lagomarsino, Michael Mandiberg, Kaeko Mizukoshi, and Miguel Ângelo Rocha

VIP Preview and Opening Reception: Friday, November 6, 5 – 9PM
Saturday and Sunday, November 7 and 8, 2 – 6PM; Monday, November 9, 12 – 8PM

New York, November 9 – The International Studio & Curatorial Program (ISCP) proudly announces “Miguel Amado Presents”, a project organized by Miguel Amado, 2009 curator-in-residence, for ISCP Open Studios. This project brings together New York-based and international artists at room 108 of the ISCP building. The project concludes a series of consecutive weekly one-work solo shows. Every Monday, Miguel Amado has installed a new work, which connected to the previous one and generated new, unexpected meanings. During ISCP Open Studios weekend, all the works will be on view, creating an innovative display. This project is a curatorial experiment, in line with the thought-provoking tradition of ISCP.

Open Studios present works by the 36 artists, artist groups and curators currently in residence at ISCP. Residents of ISCP employ a refreshingly diverse range of styles in the mediums of painting, drawing, photography, video, performance, sculpture and installation, all of which will be on view in their individual studios. Presented twice a year, ISCP Open Studios offer the public, art professionals and other enthusiasts access to cutting-edge contemporary art practices from around the world. These free events provide an exclusive peek into the production, process and personal archives of celebrated artists and curators with global reputations.

For further information, please contact Miguel Amado at miguelamadoprojects@gmail.com or the ISCP at info@iscp-nyc.org or (718) 387-2900.

2009-10-04T00:09:00.000-07:00

METROCARD, 2008, 52min

a doc/journey in nyc

1st screening:
rtp2, sat oct 10, 9pm CET

SOLO SHOW

2009-10-01T10:11:00.000-07:00

ANA CARDOSO: No. 3 / No. 13, 2009

@ Carlos Carvalho AC, Lisbon

2009-09-20T15:31:00.000-07:00

2009-09-10T11:37:00.000-07:00

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2009-09-03T10:19:00.000-07:00

ana cardoso, 2009

some works in No. 3 / No. 13

2009-08-07T08:47:00.001-07:00

Fia Backstrom Interviewed by Ana Cardoso

On Leadership

Ana: You were just in London working on a project called The Golden Voice...

Fia: It has a larger title, Studies in Leadership, which is a longer project that I’ve been working on since a couple of months. And this sub-section was called Studies in Leadership – The Golden Voice. It was at ICA in London, in the format of a residency, but the residency was open to the audience and lasted for seven days. I was in the space everyday, which I had turned into something in between a TV studio and a say… an oratory…

Ana: Conference room?

Fia: Something like that… a place where you can deliver speeches in front of an audience. I invited guests, as in any regular talk show or TV show. The guests were various experts on public delivery. There was a voice coach, a specialist in terrorist economy for the sake of content, and then a voice actor that I worked with for one day… then I screened films. The different components of the environment were included at different times; such as the furniture, where we could sit around and talk, and a lectern to give speeches from. Everything was made from cardboard – it was all disposable and recyclable, it was a sketch format. There were banners, big banners, propaganda size with scanned pages from books on professional speech delivery and public speaking advice. They functioned as a background stream of information.

Ana: Also connected to politics…

Fia: Absolutely, to politics and to corporations. I selected a few speeches – then worked with the image and the sound of these speeches, to distort them in various ways. The speeches ranged between Barrack Obama, Hillary Clinton and Steve Jobs. Then there were more historical ones, the ones we connect to public speech, such as Malcom X and Bobby Kennedy.

Ana: So you destroyed those speeches, separating the image from the voice and the text… And how did that work out, what’s the result like?

Fia: What I did was, I went backwards from the finalized speech lifting out words and sentences, as layers of language on top of the image, the image of the delivered speech was torn, the gestures and postures were isolated. I used Aftereffects in the wrong way to break apart the face and the body of the speaker, as well as the sound…

Ana: So in a way it’s just destroyed somehow…

Fia: Broken apart into fragments out of this full, saturated image that exists…

Ana: To make a perfect project imperfect… And who talked about terrorism?

Fia: Loretta Napoleoni came and spoke departing from her book called “Rogue Economics” on the new kind of leadership, which emerged after the Berlin Wall fell, with leaders such as Bóris Iéltsin. How they managed to convince their citizens, while manipulating their public persona in contrast to what they actually delivered.

Ana: She spoke about techniques?

Fia: Not really, she is more theoretically involved in how the economy developed through these years, and the changes in the way the world functions since 89/91 up to now. She spoke about how Iéltsin, for example, destroyed the former Soviet Union by working with image and the media.

Ana: Right, about the image and how to deliver a message through these contemporary channels…

Fia: She is Italian in fact, so we spoke a lot about Mussolini and his populist delivery. She compared him to Obama, and the way he manages to get the crowd going. It worked really well in the environment, because one of the dissolved speeches was Obama’s inauguration speech. It became funny, screened it was totally twisted and we used examples from it.

Ana: That must have been interesting because Obama just won, and he’s there, and it’s consensual – everybody wants to believe in him and gets really inspired by his speeches. So it must have been very interesting to see the result of deconstructing Obama, right now, at early stages…

Fia: It was interesting. The voice coach, who works with politicians and corporate leaders engaged in the environment in another way. We worked with the visitors in the workshop towards skills for professional political leadership – there were seven or eight participants. I had the speeches printed out, we worked from them, one was Ronald Reagan, another was Margaret Thatcher, and so forth… and then the voice coach worked with every word pronounced and the hand gestures and so on…

Ana: Nice… You know, I was invited to apply to some cultural program British Council was promoting. They were selecting cultural leaders and one of their main concerns was “what’s your leadership style?” They interviewed me on by phone, I was in New York, and I said “I’m a soft leader”!

Fia: The “soft leader” is very interesting, someone like Steve Jobs, who makes it seem as if we’re in a hippy commune. Or as Zizek pointed out in the documentary on him; the seventies child rearing of the you-can-do-whatever-you-want disciplinarian might be the most oppressive type of leadership in its indirect internalization of expectations. Facing the dictatorial type, the structure of power is laid bare, which makes it easier to rebel against.

Ana: Right. But they want cultural leaders! And what kind of leader that can be – it’s a very good question.

Fia: I agree. I think your answering the “soft leader” is a very contemporary one. It’s funny you said that automatically, it’s so embedded in our culture, but no one thinks a bit about the formation of this position.

Ana: I totally answered automatically! (laughs)

And how did this project start? What brought you to this project?

Fia: I’ve worked a lot on ideas on contemporary co-existence. After focusing on forms of communality I understood - it’s kind of obvious - that every group needs a leader, and that dynamically the group will form according to leadership style. Political and corporate leaders are appointed, but as an artist entering a project, you are the self-ascribed leader. The role of the artist is really an autocratic position, or at least you are expected to be. One can say almost whatever… “No, this wall should be green, and it will hardly be questioned!” (laughs)

Ana: And you wrote about collaboration… usually collaboration is seen in a very positive way, and can be, but you wrote about it also from the other side of it.

Fia: I was trying to de-romanticize what this word can mean, and to see undercurrents of ideas more specifically – what kind of relationship are we having here really? – so many exchanges goes under the guise of collaboration when actually other more crucial relations are taking place.

Ana: Actually, like with the “soft leader”, because it can be as Zizek said – when you are trying not to be something it can be more oppressive. And going back to the leadership project, what else was going on at ICA?

Fia: The main umbrella show was called Talk Show. It was a really fantastic and a fluid kind of situation or show. There were regular pieces by artists like Falke Pisano, Pierre Bismuth and Seth Price, like a regular show. At the same time there was a continuous flow of performances, lectures, concerts and people rehearsing for the evening concerts inside the exhibition space. There were two other artists or artist groups, Melanie Gilligan and Castillo Corrales, who had been given the space as a residency before me. There were constantly different things going on.

One of the interesting things about this format of the residency is that I came with an un-finished piece to work, but in front of an audience. I had set some parameters to what I wanted to do, but the final form of the work – that’s what I’m going to work with now, once I get back – it can be a film, a record, a transcript, another spoken word of some kind… so it’s a really good warp to openness of structure and purpose.

Ana: Yes, it’s very interesting. That happens a lot though… well, but you were in a residency!

Fia: It was a morphing format – nobody knew how to handle it.

Ana: And Fia, what about your leadership style? How do you see yourself as a leader?

Fia: Well, for the first iteration of Studies in Leadership, which was in St.Louis with Anthony Huberman I made an experiment.

Ana: So it started there, kind of…

Fia: Yes, it was called Studies in Leadership: A Family Affair. I made the decision to be a “soft leader” artist, somebody who works in a contemporary delegated flat structure. At the same time I was interested in the backside of this contemporaneity, the failed artist, without a vision – the same idea flipped. I knew that we were going to make a show, I knew that we were going to use things that you make a show with – for example wall paint, projectors, some kind of construction materials, that’s it. The staff and the installers, came everyday to ask me: “So what are you going to do?” and I reflexively replied: “I don’t know, what do you think?” (laughs)

Ana: You had to do something…

Fia: Mmm, I could suggest: “Maybe we should paint the walls?” and they said “Ok, what color?” I said “I don’t know…” and they: “Well we have red here…” “Ok, let’s take red…!” “Ah we have green too” “Ok”. Then they started to paint swatches, until finally one of them said: “I really like this orange, this it the one I would paint the walls with!” so I jumped on that: “Ok, let’s do that then!” I never took one decision but the first one. (laughs) It was a way to explore and play with what my position could be.

Ana: And how different was it at ICA?

Fia: At ICA my role was more towards a TV host like Oprah, with autocratic tendencies, so of course I had the final word if needed…

Ana: And Will Holder, the curator, was he just curating?

Fia: ‘Just’ curating this time – I tried to get him involved somehow, like the supreme leader, but he had decided to stand outside the whole structure.

Ana: As an omnipresent leader…

Fia: Yeah, hum hum…

Lisbon, June 2009

http://www.ica.org.uk/Fia%20Backstr%26ouml%3Bm+19565.twl

2009-08-04T13:30:00.000-07:00

Artforum online > Critic's Picks: Ana Cardoso ------------------------------------------------------------------------->>>>

http://artforum.com/archive/id=23378

2009-06-25T09:23:00.000-07:00

Small text about No. 3 / No. 13

No. 3 / No. 13 is the title of one of Rothko's paintings. This title, as applied to the exhibition, has a sole intent that is to assert the show in the path of the appropriative gesture. This exhibition by Ana Cardoso defies notions of language appropriation, style and derivation by its own means. Matisse and Popova are revised and somehow linked by the artist. Constructions made with paintings are tried out in the gallery space as much as paintings become objects, parts or construction pieces. All paintings have two sides. Some act as screens. Some of the lamps that lighten the paintings are very close to them. The show gathers five general series: Meditation, Surprise, Taped, After... and Monochromes. Most of the paintings are made on sewed fabrics, joining different materials: linen, nylon, cotton, wool, silk, etc... Plus acrylic paints, with much gold and iridescent.

Some think that the process, not the image, will reveal us something through what we see. Then the image is this fortune cookie, an abstract of possibilities.

The series Meditation addresses the idea of Buddhist emptiness. Surprise is a series that uses stripes as its main motif, as in wrapping paper. Taped mimics previous paintings tape debris. After… uses other people’s paintings and remakes them. Monochromes acts as an anthropomorphic punctuation.

No. 3/ No. 13 also includes a printed digital scan made with studio debris.

Painting is about painting.

2009-06-11T12:39:00.000-07:00

2009-05-25T14:29:00.000-07:00

2009-05-24T18:22:00.000-07:00

lux interior by jutta koether at reena spaulings

april-may 2009

http://www.youtube.com/watch?v=RRt0xMTHcTc

TACTICAL SUPPORT: CURATOR'S CHOICE 9 May - 31 July 2009 TRACY WILLIAMS, Ltd.

2009-05-23T21:15:00.000-07:00

Tracy Williams, Ltd.
313 West 4 Street

New York, NY 10014

212.229.2757

www.tracywilliamsltd.com

Tuesday - Saturday, 11-6

ANTHONY HUBERMAN:

Shannon Bool
Ana Cardoso
Jochen Lempert
Sriwhana Spong

TREVOR SMITH:
Richard Grayson
Sarah Kabot
Joanna Malinowska
Christian Tomaszewski
Suzanne Treister

BENJAMIN WEIL:
Isola and Norzi
Gianluca and Massimiliano de Serio
Alberto Tadiello

STRIP/STRIPE, a project by TEST May 8-22, 2009

2009-05-23T21:14:00.000-07:00

Emily Harvey Foundation

537 Broadway

New York, NY 10012

www.emilyharveyfoundation.org

Tuesday - Saturday, 2-6 pm

Opening Reception -

May 8, 6-9 pm

Ann Craven

Amy Granat & Emily Sundblad

Ana Cardoso

Fia Backstrom

Jutta Koether

Alison Fox

Olivier Mosset

Richard Aldrich

Charles Curtis

Raha Raissnia

Dexter Sinister

Jeff Perkins

Joao Simoes

Stefan Tcherepnin

Robert The

Matt Keegan

Drew Heitzler

Peter Halley

Geoff Hendricks

Jacob Kassay

Amir Mogharabi

Yehuda Safran

Heather Guertin

International Pastimes

Odili Odita

Chuck Nanney

David Medalla

Alexandre Estrela

Michael Portnoy

Guido Van der Werve

Bianca Beck

Josh Brand

Chris Riddle

Isabel Halley

Joana Avillez

Marc Kokopeli

Ian Cooper

Opening reception with performances by Amy Granat,

Michael Portnoy, Amir Mogharabi, Stefan Tcherepnin, Richard Aldrich, ...

and films selected by Amy Granat (dates to be announced)

and stripe works from the Fluxus Emily Harvey Collection!

& invitation card by Dexter Sinister

Amir Mogharabi preparing performance 22

with Ana Cardoso, Surprise Surprise, 2009

2009-05-21T15:16:00.000-07:00

MONOLOG # 4 (the strip / stripe issue)

LAUNCHED AT EXHIBITION PROJECT

MAY 22, 6-8PM

during Jeff Perkins, Joao Simões & Stefan Tcherepnin performance

211 Elizabeth Street, New York, NY 10013

www.exhibition211.net

the house of moma

2009-05-17T18:26:00.000-07:00