“For January, just ask Alice,” is a group exhibition curated by Amy Granat and Joao Simoes at Fitzroy Gallery in New York. Focusing on the regeneration of romantic, yet seemingly incongruent choices of works by Ann Craven, John Giorno, Amy Granat, Amanda Keeley, Amir Mogharabi, Jeff Perkins, Karin Schneider, Bruce Sherman and Jessie Stead; the curatorial team of two, harp back to an evolving body of energy that originates in the personal and often conflagrant events organized by the participants, in the past.

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“Ritual without Myth” is an exhibition that considers the potential of ritual as a catalyst for transformative experience. Curated by the graduating students of MA Curating Contemporary Art at the Royal College of Art, the exhibition features the work of ten international artists, currently emerging to wide critical acclaim.

Featured artists – Danai Anesiadou, Asco, Erick Beltrán, Lygia Clark, Joachim Koester, Patrizio Di Massimo, Ioana Nemes, Ocaña, Amalia Pica and Yeguas del Apocalipsis

Preview – March 8, 2012, 7 to 9pm

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The Zabludowicz Collection presents “Weighted Words,” an exhibition bringing together works which harness the powers of language in order to produce an impact on the viewer. By investigating the ways in which artists use language, the exhibition offers visitors new and striking ways of considering weighty topics. These include the history and discourse surrounding racism in the United States, the linguistic legacy of colonialism in Africa, recent warfare, the role of rhetoric in international affairs since the beginning of the 20th century and the transformative power of creative expressions of protest.

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The exhibition “Flagrant Delight” provides an overview of the work of German artist Rosemarie Trockel, one of the major artists of her generation, in Belgium. Through a very personal and subjective approach to avant-garde themes, she proposed an alternative to rigid formalism and expressive painting at the beginning of the 1980s, and thus laid the foundations for what became postmodernism.

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Mousse #32 and the eight chapter of Ten Fundamental Questions of Curating are now available on the iTunes App Store.

Download Mousse #32 with Abbey Road, Aaron Angell,The Assistants, Luis Camnitzer, Céline Condorelli, Natalie Czech, Mark di Suvero, Stephan Dillemuth, Stan Douglas, Sam Durant, Hollis Frampton, Theaster Gates, Barbara Hammer, Mark Handforth, A Handful of Clay, Yngve Holen, Iman Issa, The Limitations of the Alternative, Sarah Lucas, Tom McCarthy, The New International, Charlemagne Palestine, Eddie Peake, David Robbins,September 11, California State of Mind, and Cheyney Thompson.

In Ten Fundamental Questions of Curating VIII, Chus Martínez tries to answer the question “What is the future of art?”
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Mousse digital is serious reading, made entertaining.

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Spectators have to share my belief and they have to suppress their disbelief to be able to engage with the works. So maybe people that already come in with a stigma won’t get anything from it. So if there is a critique, maybe it’s a critique of a bad spectator. (Ryan Gander)

Ryan Gander’s works take their origin from a research process, a development that always appears fragmented, unfolding like a series of smoke screens, that lead the viewer into unexpected detours. One of the characteristics of his practice is to create artworks that take every possible form, from sculpture, photography and painting to installation, sound and film, slideshows, objects and books to lectures and other entirely new forms—like the invention of a fictional word that he tries to pass into our everyday language. Ryan Gander likes to surprise and unsettle his audience.

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A few years after their last show, the Lia Rumma Gallery presents an anthological exhibition of works by Ilya & Emilia Kabakov. Paintings, installations and sculptures as well as drawings and models document an artistic practice that has constantly made use of the whole range of art media over the years.
On the ground floor, Someone is Crawling under the Carpet is a monumental installation which is on display for the first time in Italy and was made in 1998 for the retrospective exhibition at the Museum van Hendendaagse Kunst in Antwerp. Using the poetic device of concealment, and employing a mechanism to simulate the features and circular movement of a man beneath a large carpet, the artist stirs the imagination of the viewer, arousing curiosity and raising expectations.

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Claire Fontaine’s exhibition “M – A – C – C – H – I – N – A – Z – I – O – N – I” opended Museion’s 2012 exhibition season on February 3.

The Bolzano show presents a selection of previous works and new creations: videos, neon signs, installations and the collective’s “machinery-sculptures”, that refer to the closed, irrational nature of the capitalist economy, intent on preserving its status quo at any price. The title of the exhibition (which translates as ‘Machinations’) references the machine metaphor that underpins capitalism, with its relentless production/consumption cycle.

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The exhibitions by Amalia Pica and Karsten Födinger are another example of how Kunst Halle Sankt Gallen aims to stimulate the dialogue between two widely different artistic positions. This exhibition model, which builds on contrasts, is intended to generate new and fruitful conclusions for artists and public. Whereas Karsten Födinger from Germany works with spectacular architectonic, almost brutal interventions in space, Argentinean artist Amalia Pica brings together poetry and political content in a very sensitive way. Both thus point towards the notion of structures in the physical and the abstract senses as well as the problems associated with them, whether they be of an institutional or of socio-political nature.

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Chiara Camoni’s second solo show at SpazioA gallery develops the theme of the indeterminacy and disappearance of forms. The works are self-declaredly in state of transit, somewhere between (be)coming and going, at any rate, far from the certainty of being.

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On January 25, 2012 Massimo De Carlo opened “New York: Directions, Points of Interest,” a group exhibition of young artists living and working in New York, curated by Elena Tavecchia.

The title of the show, which refers to Google Maps’ indications, delineates the show’s objective: to create an artistic mapping of the city and describe a place through the artists’ works. A mosaic of disparate realities enclosed within urban boundaries, New York develops both vertically, with its towering skyscrapers and horizontally with its extended grid of streets, avenues and crossroads. Each neighbourhood possesses its own identity; from Brooklyn to Chelsea to the Lower East side the urban and artistic landscape greatly differs. The participating artists are heterogeneous from an educational and professional point of view. Recurring to different expressive means, they reproduce a multiplicity of atmospheres, situations and cultural stimuli, each offering its own personal way to artistically discover and unveil the network of the city.

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William Pope.L’s second exhibition at Catherine Bastide Gallery is entitled “Three Projects” and is comprised of actually four projects.

From the ceiling, the artist has hung a large fragmented figural work that drips chocolate and i called A Vessel In A Vessel In A Vessel. Two works ring the walls of the space: 21 drawing from Pope.L’s ongoing racialist drawing enterprise entitled Skin Set. Interspersed between the drawings at uneven intervals is Polis, a set of intimately scaled shelf pieces; each holds a single painted onion.On the floor is a tall glass of milk entitled WELL.

In Numbers: Serial Publications by Artists Since 1955 is a survey exhibition of the often-overlooked genre of serial publications produced by artists around the world from 1955 to the present day. From the rise of the small press in the 1960s, to the DIY zine culture in the 1980s and early 1990s, professional artists have always seized on the format of magazines and postcards as a site for a new kind of art production.

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Eleven Rivington presents a solo exhibition of new work by gallery artist Valeska Soares, on view until March 18, 2012. The exhibition is concurrently on view with an exhibition of works from the same series at Galeria Fortes Vilaça in Sao Paulo.

Three large-scale works on linen – selected from a larger series titled ‘Bindings’ – occupies the three walls of the gallery space. These paintings – constructions of vintage dust jackets and hardcover books applied onto unprimed Belgian linen – behave not only as compositions but also as color and language indexes. The paper jackets and covers – culled and arranged in a constructivist manner in grids – come from the artist’s vast collection of antique and first edition books. As used in the paintings they become non-hierarchical and free to interact with one another. As the viewer encounters each canvas, relationships inevitably form between the dozens of disparate titles within each composition; a different narrative emerges depending on how the viewer reads each painting. Though at first sight they appear as an exercise in chromatic and formal synergy, the rea