News

The Lodge Gallery: BORDERLINES Levan Mindiashvili

on view
January 14th, 2014 – February 4th, 2014

unnamed

 

Levan Mindiashvili has been making work about urban landscapes that inform our sense of identity and the intimate connections we make with the spaces we inhabit since 2012. In 2003 he graduated from Tbilisi State Academy of Arts (Republic of Georgia) and the same year started intensively exhibiting his works in Europe. From 2008 – 2012 he lived and worked in Buenos Aires, Argentina where he received his MFA from the National University of Art of Buenos Aires.
Mindiashvili’s new series, entitled Borderlines, is a study of his reflections on cities as both public and private meeting points. Originally conceived in Buenos Aires, this recent body of work explores the artist’s personal and collective experiences with the architecture and public structures of New York, where he is currently based. It is through his renderings of reflections amongst monumental objects, combined with a uniquely subjective reinterpretation of urban stimulation/inundation, that he reveals his complex and evolving personal relationship with the city.
The Lodge Gallery, founded by Keith Schweitzer and Jason Patrick Voegele, is located at 131 Chrystie Street on Manhattan’s Lower East Side. It is the exhibition venue of Republic Worldwide and serves as both an art space and a gathering place for hearty discourse and experimentation.

 

New works from Roger Kausch at epodium gallery

RogerKausch02q

 

epodium gallery presents now four more works by Roger Kausch:

Homo faber
COUNTRY OF PRODUCTION: Germany

public banana, 2008
COUNTRY OF PRODUCTION: Kenia
LENGTH: 5 min 16 sec

Ocea, 2009
COUNTRY OF PRODUCTION: North Atlantic
LENGTH: 3 min 18 sec

barco, 2006
COUNTRY OF PRODUCTION: Canary Islands
LENGTH: 14 min

Visual Portents of a Silent Bolt of Thunder MoMA’s ‘There Will Never Be Silence,’ About John Cage

New York Times

On Feb. 7, 1943, John Cage made his first New York public appearance at the Museum of Modern Art with a performance of percussion works that featured his wife, Xenia (whom he would divorce three years later), and Merce Cunningham (who would replace her as his life partner).

“I’d come from Chicago and was staying in the apartment of Peggy Guggenheim and Max Ernst,” Cage recounted later. “Peggy had agreed to pay for the transport of my percussion instruments from Chicago to New York, and I was to give a concert to open her gallery, The Art of This Century. Meanwhile, being young and ambitious, I had also arranged to give a concert at the Museum of Modern Art. When Peggy discovered that, she canceled not only the concert but also her willingness to pay for the transport of the instruments. When she gave me this information, I burst into tears. In the room next to mine at the back of the house, Marcel Duchamp was sitting in a rocking chair, smoking a cigar. He asked why I was crying, and I told him. He said virtually nothing, but his presence was such that I felt calmer.”
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“There Will Never Be Silence: Scoring John Cage’s 4’33” ” runs through June 22 at the Museum of Modern Art; 212-708-9400, moma.org.

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